Embrace Fall at the National Bonsai & Penjing Museum

With words from Stephen Voss and Andy Bello
All photos courtesy of Stephen Voss

The crisp crunch of leaves under our feet, the chill in the air and the return of pumpkin-flavored goodies are all telltale signs of fall. But one of the most gorgeous arboreal displays of a change in seasons can be found at the National Bonsai & Penjing Museum on the grounds of the U.S. National Arboretum. 

As mid-October crowns, the colors that long dominated the spring and summer in Washington, D.C. appear in flux. The striking chlorophyll that defined the color palette of nature for so many months post-winter wanes, and brilliant yellows, oranges and reds emerge. 

There is no better place to experience this exuberant burst of beauty and vibrance than among the trees at the first and finest public bonsai museum in the world. 

As fall presses on, the dedication Museum staff and volunteers gave to the national collections throughout the growing season is rewarded with cool autumn breezes and show-stopping foliage. They will continue their best efforts on these premier trees to keep them healthy throughout the fall and prepare them for frosty temperatures come winter – many steps of which are necessary for any bonsai owner to observe around this time. 

First comes the tertiary structural pruning of the Museum’s deciduous trees, like the much-beloved trident maples and other non-flowering species. This pruning process includes spotting twigs that have thickened in the outer canopy, detracting from the idyllic delicate and finely ramified structure. 

The pruners will address areas where more than two twigs are growing from one location, known as a node. By reducing these areas to two twigs, they prevent unwanted swelling and promote a smooth transition of taper from the trunk to the tip of the twig. 

Then they distinguish areas where twigs have elongated too far and prune them back to scale with the design of the tree. This work may be completed after the leaves are done changing color, through late winter. If this type of pruning is done too early, it may stimulate new tender growth that will not harden-off before winter, resulting in damage. If the pruning is done after winter dormancy, sugars from the roots are transported to the emerging spring tips and that energy is cut off and wasted.

While pines, spruces and junipers don’t lose all their foliage, the Museum’s conifers also need some attention before the onset of winter dormancy. Pines and spruces are cleaned of old needles, and their designs can be refined with wiring. Weaker foliage on junipers can be removed, and adventitious growth can be eliminated from the crotches of branches.

Cleaning out old needles and growth allows more light to enter the canopy and stimulate interior buds, helping them more strongly develop. Cleaning trees this time of year can be tedious, especially on a large collection, but this intimate operation brings us closer to the trees and gives us an even better understanding of their health and growth habits. 

This is also an important time to take advantage of the last warm months to ensure all winter preparation and some spring preparation is completed, and those techniques vary greatly. First and simplest: Museum staff and volunteers arrange the area where trees will be placed on the ground out of the cold drying winds. Raised beds are constructed to heel trees into mulch to protect the delicate root systems, and cold frames are built and prepared to provide protection from wind and frost damage.

But in between these imperative steps for arboreal care, the trees provide perfect opportunities to engage in mindfulness. Whether you have a bonsai collection of your own or can set aside time to visit the National Bonsai & Penjing Museum, it’s the perfect time to walk through nature to interpret its splendor displayed in the captivating colors of fall. 

An Experience at The National Bonsai Exhibition: NBF Board Chair-Elect Dan Angelucci

Though the National Bonsai & Penjing Museum and staff did not formally participate in this year’s National Bonsai Exhibition due to federal COVID-19 guidelines, a few National Bonsai Foundation board members attended of their own accord. Museum staff sent in an enlarged photo of a Mary Madison buttonwood in the North American collection to honor Mary’s memory at the show. Please enjoy this short recap from NBF Board Chair-Elect Dan Angelucci, who was in attendance along with NBF Secretary/Treasurer-Elect Ross Campbell. 

The National Bonsai Exhibition is held biannually in Rochester, New York.  It is organized by former NBF Board Member Bill Valavanis and his wife Diane, who are owners of The International Bonsai Arboretum. The exhibition displays more than 200 bonsai of various species and sizes along with a sales area of vendors from all over the United States.

This year’s (the 7th) exhibition was held Sept. 11 and 12. There were more than 50 volunteers from the bonsai community, primarily from the Rochester area and the Upstate New York Bonsai Society.

To display a tree in the exhibit, one had to submit photos of their tree to the committee along with information about the species, size, age and pot. Entries had to be submitted by early May, with acceptance notification coming in June. This means that if your tree was accepted, you had to maintain its health and appearance all summer until the exhibition!  

Needless to say, I was very excited to receive an acceptance for my Cotaneaster!  I’ve named him “Jack” after his original owner, my friend and teacher Jack Wikle. I had the task of keeping my tree safe, healthy and styled through the summer until September.

My wife Rose and I drove more than four hours from our home in Pittsburgh to deliver Jack to the show. To say we were awestruck when we arrived is an understatement! People were everywhere setting up displays, bringing trees in and making sure trees were being placed and displayed properly. And the trees – WOW! The quality of the trees exhibited was amazing. The artistry and talent displayed were truly exceptional.  Additionally, it was a great honor that Bill Valavanis asked me to join him for the ribbon-cutting ceremony to open the event to the public.

I met many people while manning the NBF booth along with my colleague and fellow NBF member Ross Campbell who attended the show with his wife Maureen. It was an added pleasure to see my friends from the Ann Arbor Michigan Bonsai Society: Cyril Grum, Jay Sinclair and, especially, Jack Wikle.

For more information and photos, check out Bill Valavanis’ blog. 

Arboretum Profiles: Dr. Richard Olsen, Arboretum Director

Dr. Richard Olsen

Dr. Richard Olsen didn’t always plan for a career in horticulture, but a lifetime of appreciation of the outdoors and inspiring mentors guided him to where he is today –– director of the U.S. National Arboretum.

Founded in 1927 under the U.S. Department of Agriculture, the Arboretum is located on 451 acres of land in Northeast Washington, D.C. and contains more than nine miles of roadways. The Arboretum conducts research that benefits both American growers and consumers, and its collections house specimens for scientists to conduct research in fields like botany, horticulture and medicine.

Although he didn’t intentionally set out to help lead the nation’s premier bonsai and penjing collection, Dr. Olsen recalls that his first horticulture book he ever received was about bonsai. He recently sat down with the National Bonsai Foundation to discuss his goals as the Arboretum’s Director and his vision for the future of the National Bonsai & Penjing Museum. 

Olsen’s ambitious plans for the Arboretum and Museum are backed by a successful career in horticulture and education. He has three degrees in landscape design and horticultural science under his belt. After finishing his doctoral degree at North Carolina State University, Olsen came to work for the Arboretum as a geneticist. In 2010 he headed the Arboretum’s germplasm program, which strives to maximize the plant genetic resource conservation. Following his stint as acting director in 2014, he was officially appointed director of the Arboretum in 2015.

Olsen pollinating x Chitalpa as part of his NCSU doctoral studies.

“In my life, I spent many weekends outdoors growing up in North Carolina, so I pretty much always had a profound connection with nature,” he said.

Olsen has held leadership roles on the Casey Trees Science and Technology Committee, the Morton Arboretum Center for Tree Science Steering Committee and the J.C. Raulston Arboretum Board of Advisors. He also previously advised the U.S. Department of State and currently contributes to the Interagency Working Group on Scientific Collections, which helps the federal government make informed decisions on science and technology policies.

His relationship with horticulture stems from a deep respect for nature, cultivated in early years through exploring the family garden and his time as a Boy Scout. What began as an appreciation for the artistic beauty of the outdoors eventually sparked a scientific curiosity that Olsen has explored throughout his career.

“Horticulture is really part art, part science, and bonsai is the epitome of that,” he said.

Left: Olsen with high school soccer coach Chuck Hess at 1992 Eagle Scout Ceremony
Right: Olsen at his 1997 summer internship at the renowned Heronswood Nursery

Olsen said the influence of positive mentors in his early careers from horticultural icons – like Dan Hinkley, who sponsored Olsen’s internship at Heronswood Garden in Washington State, and the late J.C. Raulston, his former academic advisor – evoked the importance of intergenerational knowledge and nurturing.

“Raulston taught me about the value of connecting people with what you do, and the generosity of giving and acknowledging the greatness of others,” Olsen said.

Olsen has championed sustainability throughout his career, from researching trees that are resistant to climate change and disease to reimagining the future of the Arboretum. Just in the 2017-18 fiscal year, the Arboretum’s budget increased by 17 percent. 

As part of the National Bonsai Foundation’s partnership with the Arboretum, Olsen works with NBF staff to outline goals and initiatives that can support the Museum. 

“If it wasn't for NBF, we wouldn't have the Museum as we know it today,” he said. “But now we have to look to the future.” 

That future includes exclusive program funding from the U.S. Department of Agriculture on part with its other programs, Olsen said, resulting in more permanent recognition at the federal level for the Museum. 

“It’s baffling that the Museum does not have specific funding to operate,” he said. “If there's one thing that's worthy of its own funding line at the Arboretum, you would expect it's the Museum. So that's where we need partners, like NBF and bonsai lovers from around the world.”

Olsen and Hayato Shimizu, Mayor of Saitama City, at the ceremony confirming the Sister Museum partnership between the National Bonsai & Penjing Museum and the Omiya Bonsai Art Museum 

Olsen added that he believes in the power of bonsai to connect the public to the importance of plant life.

“I call bonsai the charismatic micro flora,” he said. “They're sort of this introduction to the world of nature, the importance of plants in our lives, they're front and center. Plant blindness is not a problem when one is contemplating a bonsai specimen in the Museum.” 

Olsen speculated on opportunities to use the Museum to get visitors to connect and engage with wider elements of the Arboretum. In fact, many of the specimens featured at the Museum have full grown counterparts on Arboretum grounds. He strives to properly represent the Museum as worthy of its status as a national collection through having national impact.

 “The Museum provides an opportunity to connect with folks and remind them that plants are important, not only important in our lives, for the economy and agricultural wellbeing, but actually as objects of art,” Olsen said. “They feed the soul.” 

The Bonsai Board: Mark Fields

Mark Fields working on one of his bonsai

The National Bonsai Foundation (NBF) is lucky to work in tandem with many other organizations dedicated to promoting the art of bonsai. In fact, each year the presidents of the American Bonsai Society (ABS) and Potomac Bonsai Society (PBS) are recognized as ex-officio members of the NBF Board of Directors. We are excited to introduce you to current ABS President Mark Fields!

ABS was founded in 1967 to be a North American source of information, advice, supplies and material about the horticultural form and hobby of bonsai. The organization presents a merit award to an American species at the regional shows they attend. 

Fields has been studying bonsai since he was 9 years old, learning from more than 60 bonsai artists around the world. He first learned through books and experimenting with discarded shrubs from his father’s landscaping business, but Fields soon discovered Mendel Gardens, a nearby bonsai nursery.

His first bonsai teacher was the owner, Max Mendel, who critiqued his trees, gave him growing and training advice and introduced him to the Indianapolis Bonsai Club. Fields eventually served as the Indianapolis Bonsai Club president for two terms.

He later looked for bonsai education abroad – Fields spent three separate years dedicating himself to the horticultural side of bonsai in Laarne, Belgium under the tutelage of Danny Use at Ginkgo Bonsai Nursery.

At the suggestion of bonsai professional Bjorn Bjorholm, Fields’ self-proclaimed “sensei,” he visited multiple nurseries in Japan, including in Omiya Village, the site of the National Bonsai & Penjing Museum’s Sister Museum: Omiya Bonsai Art Museum. Fields soon returned for a five-week program at Kouka-en, where Bjorn had apprenticed and was the resident artist. 

Fields owns a nursery in Indiana called Bonsai by Fields, LLC, where he annually hosts professionals like Bjorholm for bonsai workshops. You may have seen Fields at the yearly Brussel’s Bonsai Rendezvous, an event he seldom misses. He also teaches, sells and judges bonsai around the Midwestern United States and built a new bonsai studio in 2018 after retiring as a landscape contractor. 

Fields first visited the National Bonsai & Penjing Museum in the early 1990s and has since returned several times. He has assisted in multiple fundraising appeals to support the Museum. He said he is looking forward to driving donations for the Museum’s upcoming renovations. 

Fields’ visit to the Museum with his son. Pictured, left to right: Dr. Richard Olsen, Lincoln Fields, Mark Fields, Robert Hoffman, Scott Aker, Michael James and Jim Hughes

Fields recently traveled to the Museum again for a tour with multiple Foundation and Arboretum staff members. He brought with him his 12-year-old son, Lincoln, who has been a budding bonsai artist since he was 4 years old. 

Before becoming president, Fields had previously served on the ABS Board of Directors. His years of involvement in the bonsai community positioned him perfectly to take on the leading role. First elected to the presidency in 2019 for a two-year term, he has been shaking up the ABS routine to make the organization the best it can be.

“It’s not something I ever thought I could do or be,” Fields said. 

The goal of ABS is to share the breadth of bonsai best practices and information held by their members and board throughout the bonsai community, especially in North America, he said. One method of communication is their quarterly publication, BONSAI: The Journal of the American Bonsai Society.

“I’m trying to get our base of board members and talent to write articles and share their immense knowledge,” Fields said. “I’ve written a few and have been getting a lot of positive feedback, so I will continue to do that.” 

He often pulls content from his bonsai textbook, which he wrote for the school he ran for three years, teaching students everything from beginner bonsai tips and basic botany to more advanced techniques like grafting, propagation, fertilizing and dealing with diseases.

Fields is looking to incorporate more photos of members’ trees in a gallery-type layout in the ABS Journal to share the beautiful bonsai they produce and entice readers to become members. Fields said he would also like to increase circulation about events happening at the Museum as well as about news and the history of the Museum and its trees. 

“Everyone is amazed at the national collection,” he said. “ABS should be bringing those trees and the Museum to the attention of the public. We really like the partnership we have with NBF, and I’m proud to be part of it.” 

While the ABS annual convention was canceled in 2020 and 2021, next year’s event will be held in conjunction with Brussel’s Bonsai over Memorial Day weekend in Mississippi. Keep an eye on their events calendar for more information!

Photographing Bonsai with Stephen Voss: The Pace of Light

On a warm summer’s day at the National Bonsai & Penjing Museum at the U.S. National Arboretum time meanders. The daylight hours are long and no one’s in any rush. Hard light overhead casts sharp shadows that move imperceptibly over the off-white walls. A cloud or two occasionally gives respite, flattening out the light before the bright glare of the sun returns.

When the summer storms come in the afternoon, they arrive in force. The horizon darkens and a swirling mass of clouds announces the urgency of the moment. The rain arrives like a bucket of water being tipped over. Pale gray stone turns the color of volcanic sand and the trees vibrate with luminous greens and sodden browns, water dripping from their small canopies.

The storms rarely linger. Their last drops catch the reemerging sun, glimmering as they fall. Puddles absorb into the ground. Everything drips in a slowing rhythm. The brief respite of cool temperatures gives way to humid, subtropical air. Shadows pick up not far from where they left off. The trees cast their form on the walls which glisten and steam as they dry.

These time lapses are an attempt to record time passing in still imagery. Each consists of dozens and sometimes hundreds of images, taken at ten second intervals. Compressing time allows us to view these scenes in motion, to reveal what even careful observation may not pick up. The quickened moments reveal a place that is in flux, with light that is always moving.

I’m left with an even greater appreciation of the longevity of these bonsai. Each tree has seen hundreds of these moments, thousands of summer days, sudden thunderstorms, and all the hidden cycles of time that mark the passage of each day.

Vote for the National Bonsai & Penjing Museum in Washington City Paper’s Best of D.C.

You got us on the ballot – now help us secure the titles!

The Washington City Paper’s annual Best of D.C. contest recognizes the best local icons, groups and locations in the D.C. area. The National Bonsai & Penjing Museum has earned the Best Place to Take an Out-of-Towner title in this competition the last three years, as well as the runner-up spot for Best Place to Meditate in 2020! 

This year, we had to secure nominations to even get on the ballot. But you all showed so much support for bonsai – the Museum and National Bonsai Foundation garnered nominations in multiple sections!!

Now we need your help to secure the titles. All you have to do is push the green VOTE button next to the National Bonsai & Penjing Museum or National Bonsai Foundation. 

Will you take a moment to vote for us in the THREE following categories?

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

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

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

Please share this information with your friends and family! NBF strives each day to uphold and promote the beauty of the Museum’s trees and historic objects – so more people can experience the resilience and tranquility the bonsai and penjing produce.

VOTING CLOSES SEPTEMBER 19 at 11:59pm! Thank you for taking the time to honor and spread the word about the Museum, an ever-evolving emblem of intercultural understanding and friendship. 

P.S. The Museum and NBF are up for a combined (heartwarming) nine categories! That’s all thanks to YOU for helping us get nominated. We are simply aiming to keep the Museum’s status as Best Place to Take an Out-of-Towner and move up in the Best Place to Meditate ranks, plus grab some acclaim for NBF as the Best Arts & Culture Nonprofit. Any moments you have to vote for us in those three categories and spread the word with your loved ones is very much appreciated!

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."