BSM - Year IV n. 1 - January/February 2012

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IN COLLABORATION WITH

CONTRIBUTORS

Silvia Barucci, Fabio Canneta, Armando Dal Col, Gian Luigi Enny, Stefa-no Frisoni, Antonio Gesualdi, Min Hsuan Lo, Laura Monni, Luca Ra-macciotti, Roberto Raspanti, Francesco Santini, Anna Lisa Somma

phot

o ©

Hito

shi S

hiro

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Antonio RicchiariCross culture

BONSATIREGGIANDO

BONSAI & SUISEKI WORLD

EDITORIAL

BONSAI TECHNIQUES

MY EXPERIENCE

06

Antonio AcamporaBonsai positioning26

Gian Luigi EnnyThe essence of the garden in

Japanese history08

Roberto RaspantiQuercus 'Zoo'... hyperarboreal!20

EXHIBITIONS AND EVENTS

Laura MonniA good idea for the Bonsai

and Suiseki Fall exhibition organized by the Bonsai Cultural Association of Rome

14

Antonio RicchiariCross culture

SUMMARY

BONSAI & SUISEKI WORLD

EDITORIAL

BONSAI TECHNIQUES

MY EXPERIENCE

06

Antonio AcamporaBonsai positioning26

Gian Luigi EnnyThe essence of the garden in

Japanese history08

Roberto RaspantiQuercus 'Zoo'... hyperarboreal!20

EXHIBITIONS AND EVENTS

Laura MonniA good idea for the Bonsai

and Suiseki Fall exhibition organized by the Bonsai Cultural Association of Rome

14

06

26 08

14

20

The Western fever for the pop culture of the Rising Sun Empire reflects a deep generational change. A Pan-

Asian youth is emerging and it recognizes itself in idols, mo-dels and poses of common use. Many of these models co-me from Japan in the same way as London pop culture and Hollywood influence and fascinate Western mass culture.

The penetration of Japanese culture is not limited only to Asia or to the young of the Asian diaspora: it has a global dimension. Some sociologists are questioning whe-ther it is possible or not to speak about a “Japanization” process similar to the “Americanization” in youth cultures.

The Japanese pop culture in the West such as manga, anime, videogames, TV series etc is well rooted in the collective imagination of the contemporary youth. The American pop culture reservoir seems to have come to an end and the new subcultures are turning their look to-wards the world. It has been some time now that fashion, media and advertising have adopted a more global point of view. Asian models and faces, fashion inspired by the young in Tokyo, Zen and post-Zen furnishing, Hawaii t-shirts, ideograms, cyber lolitas imitating the anime icono-graphy, Japanese techno, sushi bars: the land of Rising Sun is now trendy.

Japan has imposed itself as a center of seduction and desire for the Western world. Japan has emerged as the prototype post-modern society, post-industrial, and cy-bernetic reversing the coordinates: from Far East to Far We-st. According to the most attentive observers, the starting point of this phenomenon is to be traced back in the cult movie Blade Runner by Ridley Scott in 1982 where science fiction images from the future and Japan blend indissolubly.

Nowadays it is getting more and more difficult to isolate or define a pop-ular culture to set against a high culture. In the contemporary scenario, all boundaries seem to disappear or become more fluid. In Japan there are practices which are normally referred to as culture of the elite such as the tea ceremony, ikebana, bonsai (which is something that involves us) and they all are part of a cultu-ral patrimony which is being now shared by a wider stratum of the Japanese middle class.

Cross-culture does not involve only the boundaries between art and business or mainstream and underground, all East and West boundaries are disappea-ring. Bonsai and Suiseki have taken part in these cultural studies since a new world, with all the cultural and non cultural implications which such arts involve, has been disclosed to all the passionate.

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There is no simple definition of what a Japanese garden is and there is no unique style either. The three most surprising elements for western eyes are: stone lanterns, water basins better

known as tsukubai and the raked sand with rocks inside. Yet these elements are not enough to make a Japanese garden.

The composition is important in every garden but what distinguishes a Japanese garden is the fine re-sult obtained by combining plants well trimmed, sand, water and rocks.The objective is not simply in its aesthe-tic outcome and it finds its inspiration in the two main religions in Japan: Shintoism and Buddhism.

SPIRITUAL INSPIRATIONSince ancient times, the Japanese have conside-

red places surrounded by rocks as the residence of the gods; mountains, woods and water courses were traditio-nally considered the holy land. The creative origin of the Japanese garden developed on these Shinto beliefs.

When Buddhism arrived in Japan brought by the Cinese in the VI century, new intellectual beliefs arri-ved and found their way in the garden design. The first was to simbolize the buddhist vision of paradise through the garden. After the XIV century, the zen buddhist doctrine gave rise to one of the most important concepts in the Japanese garden: the symbolic representation of a whole universe in a limited space, substantially a uni-verse in miniature. Various ingenious devices were used to obtain such effect: raked sand representing rivers or the sea, rocks with suitable shapes simbolizing islands or mountains, small trees to represent an entire forest.

Japanese gardens developed a pictorial delicacy which still endures today. They became something to

observe and study which brought to a concept of garden which is very different from we-stern ones which often try to de-light with an abundance of abstract shapes and bright colors.

When peace returned in Japan after several years of internal fights in the late XVI century, the samurai and shogun developed their interest in art through garden designing. They created them using rocks of incre-dible shapes and plants with so-phisticated outlines. Such elements were then displayed by the great tea cerimony ma-ster, Sen no Rikyu, who found inspiration for his tea garden (ro-ji Niwa) in the quitness of a villa-ge in the mountains.This was represented with elements such as milestones, lanterns, stone ba-sins and trees with amazing featu-res.

Despite today the most sober designs seem to be conside-red by the majority as the “true spirit” of the Japanese gardens, it is easy to find some exuberant examples of gardens in the outs-kirts of the major cities of Japan.

A SYNTHESIS OF THE STYLESThe long period of the

Tokugawa shogunate starting from the beginning of the XVII century gave life to another style in the Japanese garden, a synthesis of all the previous ones. This is well-known as “kaiyu” (the place of pleasure), in which various garden styles are created around a central la-ke in order to visualize changes in the scenery which surprise the visitors while wandering around. Afterward another ele-ment was introduced which is today considered as one of the most important in the Japanese garden: the shakkei or also called the borrowed scenery.

SHAKKEI – USING SURROUNDING SCENERY AS A NATURAL BACKGROUND

The concept of repro-ducing nature in miniature has been interpreted during the centuries and introduced by the niwashi (master gardeners) as a basic concept in garden desi-gning. Nowadays it is quite natu-ral that nature itself is reproduced or used by inserting

1. A garden representing symbolically the buddhist vision of paradise - 2. Painting of a garden on fa-bric

faraway hills or background landscapes in the design. These elements are borrowed and inserted in the garden perspective. Thus the garden seems to become one with the nature but it is subtantially a slight blend of both.

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3. New concepts of modern Japanese gardens - 4. A nice re-sult from combining several elements - 5. Another example of a modern garden

Reporting an exhibition is usually very boring, the dynamics are about the same every time. This time though I hope to pass my

enthusiasm on to the readers.The “Città dei ragazzi” exhibi-

tion complex in Rome reached the IV edi-tion of the Bonsai and Suiseki Fall exhibition organized by the Bonsai Cultu-ral Association of Rome.

In the last past months the Asso-ciation has been fed with new lymph: new bonsai enthusiasts became members and together with the old ones they have all contributed to the organization of the exhibition. Each year we treasure all mista-kes made in order to improve the follo-wing edition, and we really hope it will always be so.The increasing bonsai and suiseki exhibi-tor demand at each edition forced us to put a limit to just one display space for ea-ch exhibitor this time. Despite this, all the rest was fine and the really important thing was to spend a wee-kend together with friends sharing our mu-tual passion.The exhibition hall dedicated to the suise-ki was not big enough but we managed

in the end to set up extra spaces trying to not disappoint anybody.My personal experience in cooperating in the organization of the exhibition is quite big, after several years of doing this, but my worries and anxiety before – during and after the show are always the same!This year the Exhibition had a big success thanks to our Vice President’ s idea – Fa-brizio Petruzzello: to organize some de-monstrations by the different UBI recognized bonsai schools.The proposal was accepted by five schools which sent their highly qualified representatives with excellent plants.The room for the demonstrations was always crowded and it was nice to see so many well known and emerging names of Italian bonsaism working together in harmony and why not joking as well. We are really all friends.The representatives:Studio Botanico: Mario PavoneBonsai Creativo: Francesco Santini, Bru-no Proietti Tocca and Michele Pacini.Progetto Futuro: Tommaso Triossi and Andrea BiancoBonsai Time: Fabrizio Zorzi and Carmelo

Franco Barbagallo received the Ass. Cul. Roma Bonsai prize

A GOOD IDEA FOR THE BONSAI AND SUISEKI FALL EXHIBITION organized by the BONSAI CULTURAL ASSOCIATION OF ROME

Elisabetta Ruo - Rhododen-dron - honorable mention

"Bonsai & Suiseki magazine" prize to Daniele Abbattista

Daniela Schifano - "Ancient chant" - Best suiseki prize

Bonanno together with Giorgio CastagneriBonsai Mediterraneo: Matteo Testa together with Antonio Gesualdi.

Moreover, during bo-th days also other bonsaists demonstrated: Franco Barba-gallo who worked on the wood of a big olive tree using an extraordinary techni-que together with Giuseppe Massa’s cooperation; Shi Zong Quan worked on a

black pine and Vincenzo Do-minizi on an erica.

Everyone was sati-sfied with the friendly atmo-sphere and with the important Italian bonsaism teaching. Is was very exci-ting for me to live those intense days and realizing that I was taking part in a me-morable moment. Italian bonsaism was not a cliché or something abstract anymore but something tangible repre-

sented by so many people which were expressing the best part of an ancient art acquired by us, the Italian people, and brought to a qua-lified and attentive public.

The exhibition recei-ved the patronage of the Ita-lian Bonsaists Union (U.B.I.) which is always a big honor.Also the Province of Rome gave us their patronage for the first time recognizing our efforts in divulging our love

for Nature and our coope-ration with the “ Città dei Ragazzi”.

Many prizes were given to the plants exhibi-ted. Besides the U.B.I Presi-dent prize and the prizes give by the Association, ano-ther two prizes were given by the “Bonsai and Suiseki magazine” which gave its patronage too, and a prize was given also by the Presi-dent of the Association

UBI prize - OliveShi Zong Quan

Ass. Cul. Roma Bonsai prize - PomegranateFranco Barbagallo

Honorable mention - RhododendronElisabetta Ruo

Umbria Bonsai of Foligno.For the first time this

year a room was set up for the members’ bonsai and a dedi-cated prize given. Re-known plants of all the eldest members were exposed such as: Enrico Sallusti, Ottavio Fo-schi and of the most expert members such as: Emilio Di Rai-mo, Fabrizio Bonafè, Cosimo Lo Parco and Daniele Abbatti-sta. Also members with less ex-perience got the opportunity

to expose their bonsai with great excitement.

It is worth mentioning the hall entirely dedicated to the suiseki which have impro-ved greatly in terms of quality and displaying. Some of the mo-st beautiful ones were recently exposed at the National Exhibi-tion AIAS Association in Flo-rence. It was a great honor to welcome some suiseki pro-perty of Carlo Maria Galli, Carlo Scafuri, Antonio Marino

and the Napoli Bonsai Club, Giuseppe Cordone and Fi-lippo Lanfranchi. The latter re-ceived a plate by the Bonsai & Suiseki magazine patronage.

Fabrizio Buccini, one of the judges and member of our Association, has exhibited a particularly evocative suiseki. Daniela Schifano exposed a mountain stone suiseki which got everyone's attention for its beauty. The stone was displayed in an elegant way,

1. Best broadleaf - Cork oak(Francesco Giammona) 2. Olive(Laura Monni)3. Honorable mention -Scots pine(Mario Pavone)4. Best conifer prize - Taxus(Roberto Raspanti)5. Honorable mention - Cypress (Gianni Troi-ani)6. Demostrations in the "Casa delle rondini"7. Bonsai Creativo School Demo8. Scuola Bonsai del Mediterraneo Demo9. Franco Barbagallo Demo

with care for all details, on an inno-vative table made by Sergio Biagi. Daniela deserved the first prize for the best suiseki. It is time to let you all imagine the plants present at the exhibition!

It would take too many pa-ges to publish all the photos so I suggest you to come next year and admire the real masterpieces for yourself and enjoy the friendly atmosphere of the Roma bonsai As-sociation.

Some of the exhibitors:

Francesco Giammona, Franco Barbagallo, Mario Pavone, Ro-berto Raspanti, Shi Zong Quan (Ace), Antonio Conte, Andrea Be-nevieri, Gianni Troiani, Vincenzo Dominizi, Claudio Tampucci, Giorgio Castagneri and Elisabetta Ruo. There would be so many na-mes to mention since the total displays were almost 60.

The market corner, well known for all the bonsaists coming from central Italy regions, has confirmed its fame presenting ex-

cellent material to buy and famous names: Tiberio Gracco's ori-ginal vases of excellent manufacture, the booth of Bonsai Time was well furnished as usual, the pre-bonsai trees from Sicily of Vito, Paolo and Ottavio Miano, Donato Maiorino and France-sco Giammona.

Plants from our area of Vincenzo Dominizi, Ace and Fabrizio Buccini. Buccini and Carlo Maria Galli's stones.Elisabetta Ruo's T-shirts to help and support Japan.

I wish our example can be appreciated and followed by all the other Associations spread around Italy, keeping the friendly and supportive atmosphere present in our exhibitions.

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A particular of Barbagallo's pomegranate

A particular of Ruo's exhibition

"Ancient chant" - Best suisekiDaniela Schifano

"Eneepah - The mirage island" - Honorable mentionCarlo Scafuri

This massive araki of a downy oak was gi-ven to me for a first structuring some years ago. I knew I was going to work on a plant of fairly big dimensions but it

actually turned out to be bigger than I thought.The plant was so heavy, huge and volu-

minous that I could hardly think of it as a bonsai! It was studied for a few days; I turned, tilted, observed and studied it looking for different perspectives. The surface roots were exposed digging up the excess of soil and all the important details highlighted, the cuts analy-zed... ready, steady go!

The “traditional” manual approach on such a tree was not workable. All the tools must

be adequate to the dimensions of the plant: a small brush is re-placed with a big one, a saw can replace standard cutters and a motor saw used instead of a hacksaw.

All the operations were more difficult than usual. It was a tough job to work on a 80 cm diameter pot with inside approximately 60 kg of oak wood and soil but my bonsai-do craving always gets me over the obstacle.

After having smoothed out a cut at the back, the last part of the job on the trunk was done on two root stumps whi-ch were cut with a saw while collecting the tree. After se-lecting the branches systematically, the vegetation was wired

1. The oak is healthy: the ramification is incredibly dense. The leaves are all homogenous, the internodes are short and have equal distance long all the shoot. I do not remember having ever worked on such a well balanced plant. The owner's care and cultivation have given excellent results: an enviable cultiva-tion protocol!

2. A warm greeting! Just to get an idea of all the work that must be done!!!

3, 4, 5. Preparing the ramification for the wiring. Defoliating, de-foliating and still defoliating!!! Discovering the morphology of the ramification, already imagining how the new vegetation will be distributed... an operation that helps to get to know each other better!

and bent.The first step ended with an accu-

rate modeling and a nice thought: I could see it as a bonsai. The trunk showed in all its si-nuosity and strength. Its projection into space caught the eye; its fine and fissured bark told about ancient times... and right after this first step my daughter Serena gave it its name: "Dad, this plant looks like an elephant!"

The name turned out to be really well chosen: observing the trunk, it really looks like an elephant with its trunk up. Unfortunately the pictures of this first step we-re lost in a hard disk crash.May 2011 - “Zoo” got back to my studio... I was absolutely astonished by the strength and quality of the vegetation of the plant. The ow-ner cultivated it remarkably well and the tree was ready for the second step at its maximum potential. The leaves all had the same vigor , the internodes were short, the ramification was well balanced... I couldn't ask more! Ha-ve you ever noticed how big an old elephant is?

The defoliation took a whole day, it seemed an endless job... Luca's help (aka the ninja) turned out to be providential.

At every step done, as all the working sessions went by, I was more and more fascinated and captured by this oversi-zed bonsai. The more I got to know it the mo-re I appreciated it... I started to think is that it was reciprocal!

After defoliating the plant, the ove-rall result was quite satisfactory: the main branches had kept their position after the re-positioning done during the first step. All the cuts on the trunk produced good healing callus. Also the quality of the ramification was much improved.

Also wiring it was an excellent exerci-se: in this occasion Marco helped me doing it.

Even the longest job flows by plea-santly if you are in good company. I wired “Zoo” with care, paying attention to not force the branches too much by using some ties to hold the main branches bent previou-sly. The wiring was done from the secondary branches up.

Particular care was paid while creating the pads with the ramification. They should have volume and depth so that the eye is led to discover the focal points which had been identified previously. The green turned into a splendid frame of the trunk.

At the end of the modeling, an overview of the whole job was done. Apex changes still needed to be done and also branch shortening where possible. Only by pruning and changing the apex at the end of each growth of a plant you can get a perfect conical shape of the ramification after some time.

6, 7. The thick ramification makes it hardly impossible to see the structure of the plant. A lot of trimming is needed and a lot of wire to wrap... let's start!

8. The wiring is handled decidedly considering the plant mass. Marco's help was very effective. Each branch was wrapped and its ramification spread out. This en-abled us to identify the future volumes and spaces of every single branch.

The working session ended with the usual photo taken with the plant. I am already thinking about the next step. I think Zoo de-serves a repotting next spring.Quercus ”Zoo” - Collection: G. MuratoriThank you to Luca and Marco.

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9, 10, 11. The branches are modeled following and improving the previous ones. Each branch is divided, shortened, and combined with the others in or-der to create overall harmony so that the lines of the trunk are reflected in the ramification. - 12. "Zoo" at the end of the modeling. I think this picture is “for the pleasure of the eyes” or rather taken when the plant had the vegetation longer than necessary. It helps me to imagine the proportions that the fo-liage and each branch should reach. After the picture was taken, a careful and methodical trimming of the apexes was done to recreate sections and con-icity of the branch structures and to increase the effectiveness of the defoliation. - 13. “Zoo” in the sun... ready to explode again! (G. Muratori collection)

Shunkaen Bonsai Museum - Curator: Kunio Kobayashi

Before deciding the best po-sition for bonsai trees, they should be evaluated considering their original

geographical area. The geographi-cal areas or climate zones of the species used to create bonsai can be summarized as follows: Tempe-rate, Subtropical, Tropical, Equato-rial. Tropical and subtropical bonsai trees such as ficus, serissa, carmona and sagerethia all grow outdoors where the temperature never goes below 10°C. These

bonsai are called indoor bonsai since they can stay indoors for a long time even if actually there is no indoor kind of species. No plant is meant for living inside a house while the temperate ones are usually called outdoor bonsai. The correct positioning of a plant depends on several factors:light, temperature, humidity and air circulation...

Bonsai trees should be ex-posed to light, set on the shelves in order to protect them against

eventual insects and weed, moreo-ver, there is more air circulation, and you get a better view of your bonsai. The wind is a very important factor as well: a light breeze helps to keep away parasi-tes, diseases etc..

Gathering trees that are of the same species makes the cultivation easier. Some species li-ke the shade in summer time, so-me do not; some need to be watered more often than other ones. Thus it is useful to gather the

plants belonging to the same species.Moving a bonsai from one place to

another is a mistake. Moving it erroneously and suddenly can cause the buds, flowers, fruit or leaves to fall or wilt and it can cause the death of the plant as well. For its own health, a bonsai should not stay indoors for more than a few hours at a time.

POSITIONING - INDOOR BONSAI It is essential to recreate conditions si-

milar to the natural ones for all indoor bonsai. Light, temperature and humidity ratio should be like the ones of its geographical pla-ce of origin, only by doing this it can grow healthy. The ideal winter temperature for the tropical species should be in the range of 15° to 18°C during the day, while at night it should be between 8° and 12°. In no case the indoor temperature should be higher than 25°C.

Sunlight gives energy to the plant for the photosynthesis by which means the plant synthesizes the compounds to live. In houses the windowpanes and curtains reduce the amount of light which is necessary for our plants. It is important to place the bonsai at 70-120 cm from a bright window. The lack of light is one of the major problems which occurs very often while taking care of an indoor bonsai. In addition, the foliage of the bonsai should be spayed with water more

than once a day since the heating dries the air inside. It is also useful to make the area under the vases humid by placing underneath them a big tray containing wet sand or expanded clay. Indoor bonsai should also have an adequate ventilation paying attention to not expose them to currents.

From May till the end of September these bonsai can stay outdoors in a well aired place sheltered from direct sunlight.

POSITIONING - OUTDOOR BONSAI

LThe ideal place for outdoor bonsai is well aired and sunny. Deciduous species should be sheltered under a screen during the hot summer months, especially in the southern regions, since the sun could burn the leaves. Plants such as maples, rhodo-dendrons, beeches, cryptomerias etc... should be screened since they do not tole-rate direct sunlight. A bonsai has a good sunlight exposure when it is still humid the day after it was watered. It should be also ro-tated by 180° degrees every 7-10 days to keep the new shoots in search of light from getting too long.

A right ventilation is necessary to ha-ve healthy bonsai trees which are often squeezed on the tables outdoors with very little room. Gathering too many plants in a sa-me place facilitates cryptogam diffusion, the-refore a moderated ventilated position is

much better. In winter a windy posi-tion combined with dehydration can freeze the plant damaging the thin branches and withering the soil. The plants should be protected from the wind during the cold sea-son. Usually all conifers are resistant to cold and heat requiring a sunny and windy position throughout the year. Moreover, they do like night dew which is essential for the culti-vation of all species. All considering, the best position for conifers is a well exposed place of a garden or terrace. They do not need the pro-tection of a shelter since they would not get the night dew. On the contra-ry, broadleaved trees do not need an excessive sunny position but a half shaded one.

Mountain species are used to live in the shade (such as rhodo-dendrons etc) and do not absorb water easily when weakened, thus a sunny exposure could be fatal. On the other hand, species such as coni-fers (Pines etc...) grow where light is abundant and therefore a sunny posi-tion can help weakened ones. If the

roots are weak, the foliage should be nebulized.

Particular attention must be paid to cold and dry wind in winter. Low temperatures and wind can have negative consequences on bonsai. During winter season evergreen plants stop the photo-synthesis and less water must be gi-ven. However the evaporation continues through the stomas of the plant while the roots reduce water absorption. If the soil freezes and is still so after eleven o'clock in the morning, the plant is not going to absorb water and if the wind is also blowing the water will transpire from the leaves and the tree will ha-ve the first symptoms of dehy-dration and will risk to die if the situation shall continue for two or three days.

The resistance to cold temperature is related to latitude and altitude of the original place of the species and also to the depth of the roots in the ground. The resi-stance of a bonsai diminishes compared to a tree in nature since

1. View of the Roberto Smiderle's garden. Shitak-usa and shohin bonsai shelter under the canopy of larger sized bonsai - 2. Winter cover of Shinji Suzuki

it develops a superficial and flat roota-ge which suffers from cold temperatu-re.

The rootage is the most deli-cate part of the plant which is at risk du-ring winter. It should be protected from night frost. It is usually sufficient to isolate the vase, putting it in a crate and filling it with needles, leaves or saw-dust. The outdoor bonsai should be

also watered during the warmest part of the day so that the bonsai have enou-gh time to dry before night when the temperature drops.

Plants that usually live in hu-mid and cold places do not have a good resistance to the heat, plants wi-th deep roots do not as well. Plants that grow on hills, and slopes usually to-lerate the heat well.

Generally speaking, photo-synthesis takes place at a temperature of about 15°C and reaches its apex between 27°C – 30°C. When the temperature gets higher the photo-synthesis activity slows down. Absorption gets more intense so that the consumption of the nutrients is hi-gher than the production. When the temperature gets higher than 35°C the

3, 4. The species are grouped by the same needs, positioned either side of the garden according to your needs exposure.

absorption is not possible anymore. This is the temperature limit for the gro-wth of the plant. The absorption of water and nutrients gets inadequate through the roots at such temperature though the plant transpires through the leaves. In such conditions the plant may have some burnt leaves. It is important to remember that the water

absorbed by the roots is not only for the photosynthesis but also for the transpiration through the stomas. As perspiration for man, the transpiration for plants has the same goal that is to lo-wer the temperature of the plant.

In summer time it is useful to create a certain level of humidity around the bonsai by putting a tray

(better if dark colored) full of water under each vase but avoiding direct contact with the water. This micro cli-mate is especially beneficial to bonsai on rocks, bonsai that dry out quickly, those that need a lot of water and the weak ones.

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SPRING-SUMMER

FALL SUN

Conifers: juniperus, scots pine, aleppo pine, black pine.Broad-leaved: mediterranean species such ad olive trees, rosemary, bougainvillea, phillyrea and tropical species such as ficus, carmona, zelkova and serissa.

HALF SUN Conifers: mugo pine, Swiss pine, Norway spruce, five needle pine, larch, taxus.Broad-leaved: maple, beech, erica, prunus.

FALL-WINTER

Outdoors (mediterranean area): all species excepted tropical species.

Outdoors (Northern areas and subalpine area): Larch, mu-go pine, scots pine, juniper (excepted phoenicean junipers and prickly juniper).

Cold frame: mediterranean plants, oak, maple, prunus.

As a general rule, the positioning depends on the season and on the species of the bonsai species.