A book review...

Dave De Groot’s original edition of Principles of Bonsai Design  would be easy to overlook. The small size volume is barely thicker than a pamphlet, is sized smaller than any paper back and has an odd spiral binding. Slick and glossy  it is not.

But that spiral binding is a valuable feature-this is a book with enough useful information to reread and study.  After a while design concepts will soak into a bonsai practioner’s head and hands from constant exposure. Find a way to convey those is often times a struggle.  De Groot has made the best effort I’ve come across to put that process into text and related illustrations.

It may seem like gilding the lily to bring out another edition-until you hold that edition in your hands.   This second edition is an advancement and an improvement on the first.  This is a full sized, hard bound book with an understated, not to say plain cover.  But under that  cover  are more than 250 pages of text, drawings, charts and photographs.

De Groot has been growing bonsai for 40 years, and served as curator of the renowned Pacific Rim collection for a quarter century.  His bonsai experience was gained in this country as well as Japan.  This book is a distillation of all that experience.  What makes the book both a treat to read and so effective at conveying concepts is the combination of the author’s vast specialized experience, and his ability to use other art forms and means of expression to help make his points. For example, when discussing tension as design element he makes some use of musical examples like Mary had a little Lamb and Bach’s Goldberg Variations. You get the impression that De Groot could be an engaging partner in a conversation on most any subject.

The book covers in absorbing detail the usual “traditional” bonsai styles as well as  more modern additions to the bonsai palate, considering influences from Chinese Pen-ching as well as other bonsai growing  areas.  The flat top style for bald Cypress, pioneered by American Vaugh Banting?  It’s here, as well  clear descriptions of some more exotic styles.  Degroot  offers clear, concise foundations of what contributes to each style and why it ‘works’.  Styles are grouped into logical bunches, based on trunk line, branch lines, styles based on landscape feature.

Pot selection is covered in equally thorough detail, bringing some clarity to what can be an intimidating and frankly confusing process. De Groot also covers the principles and conventions of display, a topic that I have not seen covered as extensively or as well in one place. His suggestions are worthwhile not just for formal show-type exhibition but also for the permanent growing area display. One bit of advice may seem obvious but makes sense-he proposes keeping a work area with projects in process in a different, not easily viewed area, away from the more ‘finished’ trees.

For as long as I can remember John Naka’s books have been recommended for the serious student of bonsai. Naka’s books are long out of print and expensive to purchase. It seems like sacrilege to say it, but DeGroot may have produced a worthy successor, not just a substitute but a replacement.

This book is available from http://www.stonelantern.com/ . Images on this post came from that website.