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A Grateful Farewell

 

Dear Friends and Supporters,

After more than 40 years of service, the National Bonsai Foundation (NBF) will conclude its operations at the end of this year. We are deeply grateful to everyone who has sustained our mission to support and safeguard the National Bonsai and Penjing Museum at the U.S. National Arboretum and to preserve and promote the art of bonsai in America.

This decision, reached after careful deliberation by our Board of Directors, marks an intentional transition that is rooted in our commitment to the art of bonsai. As the landscape of support for the traditional arts continues to evolve, now is our moment to pass the torch. For several years, the U.S. National Arboretum has been moving toward a new operational model that consolidates nonprofit engagement under a single partnership. As that vision is now being realized, and with the Arboretum’s designation of Friends of the National Arboretum (FONA) as its primary partner, the time is right to conclude our operations and ensure a smooth, unified path forward. We will direct our remaining resources toward the ongoing upkeep of the Museum, and to uplifting the next generation of individuals and organizations who carry this living tradition forward.

What Comes Next

As part of our closure, we are taking great care to use our remaining resources to support the art of bonsai in meaningful ways. The legacy of the National Bonsai Foundation will branch outward into new programs, fresh perspectives, and shared stewardship of this living art. We are confident that FONA, a longstanding advocate of the Arboretum and now its single nonprofit partner, will continue to support the National Bonsai and Penjing Museum.

To ensure that the funds entrusted to us are used responsibly and effectively, we will transfer the majority of remaining assets to FONA to directly support the National Bonsai & Penjing Museum and ongoing bonsai education. These funds will be specifically dedicated to the continued care, growth, and improvement of the Museum, including future capital projects, program development, and public engagement. This support will help preserve the Museum’s world-class bonsai collections, enhance the visitor experience, and ensure that the art of bonsai continues to thrive in the nation’s capital.

We will also distribute a small percentage of the remaining funds to several organizations that share our commitment to advancing the art of bonsai: the American Bonsai Society, the Pacific Bonsai Expo, the Potomac Bonsai Association, and the North American Bonsai Federation. These are organizations with whom NBF and the Museum have had longstanding relationships, and whose ongoing work reflects the values and spirit we have sought to nurture. They will continue to cultivate appreciation for this living tradition at the grassroots level, as well as generating ongoing support for the Museum.

Looking Ahead

If you have questions or reflections to share, we welcome them. You can reach us directly by emailing Executive Director Bobbie Alexander at balexander@bonsai-nbf.org or Chair of the Board Dan Angelucci at dangel7254@gmail.com. We will do our best to respond promptly.

Our work to nurture the arts of bonsai, penjing, and suiseki over the past four decades would not have been possible without you. We are proud of the roots we planted together, and we are deeply grateful for your help growing them into a living legacy. Your generosity and shared belief in this mission have cultivated a thriving community that will carry the tradition forward, as FONA is committed to honoring our dedication to the art of bonsai.

We are confident the Museum will continue to thrive in the care of FONA, in partnership with the U.S. National Arboretum. We encourage you to continue to support the Museum as you have generously done in the past, and you should expect to receive communications from FONA in the near future. With your dedicated care, the Museum will flourish for generations to come, inspiring new audiences to discover bonsai no kokoro — the enduring spirit of bonsai.

As we conclude this work, we extend heartfelt appreciation for everyone who has contributed along the way. Thank you for continuing to nurture the spirit of bonsai, wherever it grows next.

With deep gratitude,

The Board of Directors
National Bonsai Foundation

We’re a 2025 “Best of DC” Winner!

We are proud to share some exciting news: The National Bonsai Foundation, the U.S. National Arboretum, the National Bonsai & Penjing Museum, and the Potomac Bonsai Festival and World Bonsai Day celebration have all been recognized in the Washington City Paper’s Best of DC 2025 readers’ poll!

We’re honored to be celebrated alongside so many inspiring organizations and local favorites, and it’s all thanks to you! The bonsai community has ensured that both NBF and the Museum have been recognized for numerous years in a row, and for that we are deeply grateful.

Here are the awards:

Best Arts and Culture Nonprofit
🥇 National Bonsai Foundation (WINNER)

Best Arts and Culture Festival
🥇 Potomac Bonsai Festival & World Bonsai Day (WINNER)

Best Museum (Non-Smithsonian)
🥈 National Bonsai & Penjing Museum (RUNNER-UP)

Best Date Activity
🥈 Picnic at the U.S. National Arboretum (RUNNER-UP)
🥉 National Bonsai & Penjing Museum (Finalist)

Best Kid-Friendly Attraction
🥉 U.S. National Arboretum (Finalist)
🥉 National Bonsai & Penjing Museum (Finalist)

These awards are a testament to the power of community, collaboration, and the enduring spirit of bonsai. Your votes show strong support for living art, for natural wonder, and for a peaceful tradition that brings people together all over the world.

Whether you’ve joined us for a World Bonsai Day festival, strolled through the Museum’s tranquil paths, or brought your kids to wander the Arboretum’s gorgeous grounds — you’ve helped make our corner of DC a vibrant, welcoming, and inspiring place.

Thank you for believing in our mission and for celebrating the art of bonsai with us. We couldn’t do this without you!

Guy Guidry and the Bald Cypress: An Artist and His Tree Grow Up Together

In the world of bonsai, time can be the artist’s greatest collaborator. Few stories illustrate this better than that of Guy Guidry’s bald cypress, one of the original 50 trees that launched the North American Collection at the National Bonsai & Penjing Museum. Donated in 1990 when Guy was in his twenties, both the tree and the artist were young and bold. He collected it from the swamps of Louisiana, a yamadori with roots as wild as its native landscape.

This tree was more than just a new addition to the collection; it represented a new frontier in American bonsai. The bald cypress (Taxodium distichum), a deciduous conifer native to the southeastern United States, was virtually unknown in traditional bonsai circles. Unlike the pines and junipers native to Japan and China, this swamp-dwelling tree had to travel by boat or plane to even reach those countries. Its presence in the Museum signaled a bold expansion of bonsai’s geographic and stylistic range, and emphasized the growing bonsai artistry of the United States.

The bald cypress (Taxodium distichum), was first styled by Vaughn Banting, one of Guy’s mentors. When Vaughn began training this tree, he aimed for a traditional Japanese formal-upright formation, but he later recognized the tree’s true character. His insight led to the development of the flat-top style, a significant innovation in North American bonsai that more closely mimics how these trees evolve in the wild.

The Museum’s curator at the time recognized the significance of the species and its origins, both for its size and uniqueness and because it offered a fresh perspective on native North American styling. Unlike traditional Japanese forms, the bald cypress reflected how these trees grow naturally in southern American swamps.

Guy was also deeply influenced by the writings of bonsai master John Naka, and he thoroughly studied Naka’s Bonsai Techniques, Volumes 1 and 2. He would go on to meet Naka at the World Bonsai Convention in New Orleans in April 1985, where his work caught the legendary artist's attention. Eventually, it was Naka himself who requested that Guy contribute a tree to the North American Collection.

At the time of the donation, Guy was one of the youngest artists ever to contribute to the Museum. Over the decades, his donated tree remained largely unchanged, maintained in the classical style by the expert curators at the Museum with steady care and occasional wiring. But as with all bonsai, time itself worked its quiet magic. Bark matured, roots evolved, and the tree began to take on the appearance of age and wisdom. This is a quality that bonsai artists call mochikomi—the depth and realism that emerge only through time. Natural features develop as a tree ages: branches thicken, root zones die back to form veins, and living bark callouses over deadwood, creating a sense of history and making the tree appear more ancient and visually compelling.

Thirty-five years later, the Museum invited him back as part of the Potomac Bonsai Association’s annual festival during the Museum’s World Bonsai Day celebration. It was both a return and a renewal: This was a close collaboration between artist and curator, offering a rare opportunity to continue the tree’s artistic expression decades later. Over the course of two years, Guy and Curator Michael James stayed in conversation, exchanging ideas and sketches. When Guy arrived for the PBA Festival, he brought that vision to life, setting the stage for a remarkable full-circle moment. Nearly four decades after his original donation, Guy returned not only as an established artist but as the tree’s longtime companion, to see “his old friend,” as he called it. As a seasoned bonsai professional, he now had a chance to restyle the tree he had once trained as a newcomer.

On World Bonsai Day 2025, presented by the Potomac Bonsai Association in partnership with the National Bonsai Foundation and the National Bonsai & Penjing Museum, Guy led a live styling demonstration for an eager audience. This public collaboration between artist and curators was a unique opportunity to witness bonsai artistry in motion as a piece of history happened in the moment. Evan Pardue of Underhill Bonsai Nursery in Louisiana assisted Guy with the demo, with support from Curator Michael James and Assistant Curator Andy Bello.

In front of a rapt group of bonsai enthusiasts, Guy performed a comprehensive transformation. He did a hard cutback, significant wiring, and repotting — all in a single session. This is rare in bonsai practice, as artists tend to give their trees time to adjust between major changes. But this bonsai was healthy and strong, having been kept in the Museum’s tropical greenhouse through the winter. Thanks to good growing conditions, it advanced enough to allow it to withstand the intensity of the all-in-one styling.

During the demonstration, Guy also made a bold artistic decision: He turned the tree, choosing what had been the back of the tree for decades to now be the presentation side. It was a choice following John Naka’s teachings, who often reminded students that the back of the tree often becomes the front over time. The audience watched as Guy created new negative space, refined the line of the trunk, and selectively styled secondary and tertiary branches, preserving the primary structure.

Guy also selected a new pot, a large, ornate Chinese-produced container donated by Doug Green of Underhill Bonsai Nursery. The pot’s red hue, curved edges, and imperial scale were chosen to complement and emphasize the tree’s grandeur.

The result was more than a technical triumph. It was an immersive educational experience and a powerful reflection on the nature of bonsai itself. Thirty-five years ago, a young artist donated a young tree. Now, both have matured. The man and the tree grew up together, shaped by time, care, and the deep collaboration between an artist and the natural world. Their story, decades in the making, continues to grow.

The Yamaki Pine: A story of resilience, dedication, and care across centuries

The Yamaki Pine marks its 400th anniversary in 2025 — a milestone we celebrated during World Bonsai Day on May 15. As part of the festivities (read our full recap of the celebration), we formally honored this iconic tree and its enduring significance as a symbol of resilience and international friendship.

In this article, Museum Curator Michael James reflects on the tree’s extraordinary journey, shares how he and his team provide daily care for this revered bonsai, and describes how they steward the legacy of a living legend.

A Patient Practice in a Rushed World

Our modern existence has little tolerance for patient, methodical work. We’re pulled constantly toward urgency and overstimulation. But what about the quiet, mindful act of nurturing the same tree, day after day — not to meet a deadline, but to uphold an ancient tradition?

This is one aspect of the curator’s daily work at the National Bonsai & Penjing Museum. Each week, Curator Michael James and Assistant Curator Andy Bello water, prune, adjust, or simply check on the Yamaki Pine, a centuries-old bonsai that survived the atomic bombing of Hiroshima.

The Yamaki Pine arrived in Washington, DC in 1976 as part of a bicentennial gift from the people of Japan to the people of the United States. While wild white pines typically live between 150 and 200 years, this one has been sustained far beyond that, thanks to centuries of unwavering dedication. This year marks its 400th year in training.

NPR recently featured the story of the 400th anniversary of this remarkable tree, which we honored on World Bonsai Day. The daily care and recognition it receives helps to amplify its global resonance and quiet power.

Daily Care, Daily Ritual

The curators do this work willingly and purposefully, building on many generations before them. Each of the tree’s caretakers comes to understand a universal truth: Their efforts are essential, even though they themselves are temporary.

“We won’t see any immediate outcome, but it’s like taking care of your home, children, parents, or anything else you love,” Michael said. “You give it the attention it needs so it thrives, and you do that unselfishly.”

Bonsai like the Yamaki Pine benefit not only from long-term devotion, but also from protection: they’re spared the harsh weather and structural breakdown that afflict trees growing hundreds of feet tall. But the tree’s long life in a bonsai pot has created a complex and tightly knit root system—making repotting an all-day event, and sustaining the tree’s vigor.

“The network of roots will make your eyes cross—it’s hard to believe there’s any room for soil in the pot,” Michael said. “The pine’s simple dome is incredibly efficient at capturing sunlight and creates a very healthy tree.”

Though the work may appear meditative, it carries real responsibility. Caring for the Yamaki Pine isn’t so different from caring for any other bonsai or penjing at the Museum, but the weight of its history heightens every decision, like when exactly to water, fertilize, prune, or defoliate.

“Sometimes you worry as you leave work, thinking, ‘Did I water it? Will this snowfall be too heavy on the branches? Should it be covered?’” he said. “So we communicate constantly, and we always have an underlying sense of what could really impact the pine. It’s a living entity, and some things are outside of your control, but we do what’s within our control.”

Beyond his horticultural efforts, Michael witnesses the emotional impact the tree has on visitors. Rarely does someone pass by without pausing in awe, shedding tears, or standing in quiet reflection. Many visitors ask detailed questions about the tree and its history; even those who don’t seem to sense its significance.

 

A History Revealed

Friends and family of Mr. Yamaki at the National Bonsai & Penjing Museum.

Notably, the Yamaki family made the original donation with little fanfare. Its identity as a hibakujumoku — a Japanese term for trees that survived the atomic bomb — was revealed only gradually, in conversations with younger generations of the Yamaki family.

“Allowing that story to unfold naturally almost makes it more powerful,” Michael said. “It feels like the perfect reconciliation after the war. A humble, unassuming gift to signify the act of moving forward.”

Though it is most famous for surviving just two miles from the Hiroshima bomb site, the Yamaki Pine has lived through much more: royal dynasties, global conflict, travel across continents, climate extremes, and pandemics. That long arc brings Michael a certain peace.

“We were repotting this tree at the beginning of COVID, when nobody knew what the virus was or how to stay safe,” he said. “But it was just another day in the 400 years of the Yamaki Pine. That realization helps you not worry as much about the crisis that seems to be bringing the sky down. It’s just a speck of time when you compare it to something that old.”

That sense of endurance echoed in remarks shared during this year’s World Bonsai Day celebration.

Ambassador Shigeo Yamada of Japan reflected:

“Bonsai has long been a bridge between our cultures — a quiet, living testament to patience, artistry, and shared understanding.”

Dr. Richard Olsen, Director of the U.S. National Arboretum, remarked:

“Bonsai and the work of the Arboretum share deep roots. Together, we nurture plants that connect science, art, and emotion.”

Museum Curator Michael James added:

“Today, the Yamaki Pine stands not only as a masterpiece of living art, but as a symbol of peace, of endurance, of the connections that unite us across time and culture.”

Visit our World Bonsai Day page to see more from that day.

One Strike Permeates All Things

The 400th Anniversary of the Yamaki Pine was formally recognized during the opening ceremony on World Bonsai Day, May 15, 2025. To mark the occasion, a sacred Japanese temple bell — which was installed above the entrance to the Japanese Pavilion in 2023 — was ceremonially rung.

Cast in 1798 for a Zen monastery outside of Tokyo, the 226-year-old hanshō was gifted to the Museum by the National Bell Festival. Its resonant chime, heard across the grounds, echoed a message inscribed in classical Japanese on its bronze surface:

“One strike permeates all things. How could it be said the strike is slight, when it is heard without fail?”

A Timeless Symbol

In a world that prizes speed and novelty, the Yamaki Pine offers a different kind of wisdom: A living reminder that care sustained over centuries can become its own form of meaning. Each visitor who pauses to experience it — whether in reverence, curiosity, or quiet awe — joins a long line of people drawn to its presence. And each caretaker who tends to its branches continues a legacy shaped by time and trust.

Now entering its fifth century, the Yamaki Pine continues to embody resilience, peace, and cross-cultural connection. Michael hopes that the story continues to inspire, and that future generations of caretakers and visitors alike understand the enduring legacy behind it.

“Much of art is reinterpreted every hundred years, and its meaning changes,” he said. “But the simplicity of the Yamaki Pine is that some things will persist and not change. And that is an amazing story in itself.”


Special thanks to Danielle Grace for her contributions to the research, interviews, and writing of this article.

In Memoriam: Ann McClellan

Ann McClellan (1950-2025) Photo by Kenji

The National Bonsai Foundation honors the memory of Ann McClellan, who passed away peacefully this past March in Washington, DC.

Ann was an author, advocate, and longtime supporter of the National Bonsai Foundation, the National Bonsai & Penjing Museum, and the U.S. National Arboretum. A former member of the National Bonsai Foundation Board of Directors, she played an essential role in developing the organization’s public voice, connecting wider audiences to the art and spirit of bonsai.

“Ann was a true friend to the Arboretum and the Museum,” said Dr. Richard Olsen, Center Director of the U.S. National Arboretum. “She believed deeply in its mission and continually sought ways to amplify its impact. Throughout her life, she remained engaged, creative, and committed to helping bonsai flourish as both an art and a cultural bridge.”

Ann as a child, collecting sap from a sugar maple.

Ann’s deep connection to nature began early, growing up on the grounds of the Lawrenceville School in New Jersey, where her family lived surrounded by sweeping landscapes designed by Frederick Law Olmsted.

“It was like living on a boat in the middle of an ocean of trees and grass,” she once recalled.

That immersive environment sparked a lifelong reverence for trees—from the grand oaks and elms of her childhood, to the gorgeous cherry blossoms that define springtime in DC, to the timeless bonsai masterpieces at the Museum.

She studied history at Goucher College and went on to a career at the Smithsonian Institution, where she collaborated with entomologists and botanists to bring the Smithsonian’s natural collections to broader audiences. She later served in a senior communications role at the World Wildlife Fund, among other prominent nonprofits.

Credit: annmcclellan.com

Ann ultimately became a freelance writer, beginning her career with several books celebrating cherry blossom trees and their famous annual festival in Washington, DC. Her writing about these iconic flowering trees, which had initially arrived as a state gift from Japan, helped raise public appreciation for living trees as symbols of cultural exchange and also brought wider awareness to the Arboretum and its horticultural mission.

Credit: Lauren Bullock via Legacy.com

In 2016, Ann authored Bonsai and Penjing: Ambassadors of Peace & Beauty, a beautifully written and photographed exploration of the National Bonsai & Penjing Museum’s collections and the definitive account of its history.

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

The book serves as a reference guide to the Museum, offering readers a full account of the origins, evolution, and significance of the national collections of bonsai. Working closely with Arboretum, Museum, and NBF staff and drawing from extensive interviews and archival material, Ann brought together the history, philosophy, and artistry of the Museum in one accessible volume. The book serves as a foundational resource for anyone seeking to understand not only the trees themselves, but the broader cultural legacy they represent.

“She couldn’t have been a stronger supporter of the Museum and its community,” said Michael James, Curator of the National Bonsai & Penjing Museum. “She was always looking for ways to promote the art form, whether through writing, programming, or simply introducing new people to bonsai. I had the privilege of working with her on several projects and presentations, and her energy, insight, and generosity were always evident.”

Sandra Moore (left), author of “Peace Tree from Hiroshima”; Ann McClellan (center) with her book, “Bonsai and Penjing: Ambassadors of Peace and Beauty”; Stephen Voss (right), NBF Board Member and author of “In Training”. Credit: Olivia Anderson Photography

Ann joined the NBF board in 2018 and served for several years. In 2019, she helped welcome guests during a reception at the Japanese Pavilion for members of the American Public Gardens Association, furthering her legacy as a connector and advocate.

Meanwhile, she continued to write and celebrate her lifelong interest in Japan–U.S. relations, the art of bonsai, and the cultural symbolism of trees and gardens. In recent years, she worked with NBF and Museum staff to develop an updated version of her bonsai book, a testament to her continued dedication to promoting the art form. Ann remained a constant supporter of the U.S. National Arboretum, always thinking of new ways to elevate its work and strengthen its public presence. Over the years, she collaborated closely with Museum and NBF staff, offering ideas, encouragement, and hands-on support.

“It was my joy and privilege to serve alongside Ann,” said Felix Laughlin, chair emeritus of the NBF board of directors. “She brought not only a deep love for the Museum, but a rare understanding of its role in advancing the art of bonsai and building lasting friendships between nations. Her widely-admired books and many contributions to the Museum’s growth and vitality stand as her enduring legacy.”

In 2022, Ann McClellan was presented an award by Koji Tomita, then Japanese Ambassador to the United States. Credit: Aaron Webb, Embassy of Japan in the USA

In 2021, Ann was awarded the Order of the Rising Sun, Gold and Silver Rays, by the Government of Japan. This distinguished honor recognized her outstanding contributions to strengthening mutual understanding and friendship between Japan and the United States—a cause she championed throughout her life.

Ann McClellan’s contributions to the National Bonsai Foundation, the National Bonsai & Penjing Museum and U.S. National Arboretum, and the art of bonsai are enduring. We extend our heartfelt condolences to her family and friends, and we honor her legacy with deep gratitude.

More about Ann:

Vote for Us in Best of DC 2025!

In just two minutes, you can help build our community by voting for bonsai.

Please vote for us and the National Bonsai & Penjing Museum in the Washington City Paper's Best of DC 2025.

Help more people discover the beauty and serenity of the art of bonsai. Voting is open until June 12 at 5 PM (ET). For more than five years, you've kept us among the top spots in several categories. With your vote this year, we can stay there!

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

Write in “National Bonsai & Penjing Museum”:

Best Museum (Non-Smithsonian)

and then…

Write in “National Bonsai Foundation”:

Best Arts & Culture Nonprofit

and then…

Write in “Potomac Bonsai Association Festival”

Best Arts & Culture Festival


We need everyone to vote for bonsai, so please share this with your friends and family too. Simply send them this link: bonsai-nbf.org/blog-archive/bestofdc25

The National Bonsai Foundation helps protect and share the Museum’s trees and viewing stones and promotes the art of bonsai across America – so more people can experience the resilience and tranquility found among bonsai and penjing.

Voting closes on June 12! Thank you for taking the time to honor and promote the National Bonsai Foundation the National Bonsai & Penjing Museum, an ever-evolving emblem of intercultural understanding and friendship.

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World Bonsai Day 2025

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A celebration of community, living art, and the spirit of bonsai

What an awesome turnout: We estimate that more than 8,000 people joined the Potomac Bonsai Association Festival and World Bonsai Day!

We were thrilled to support PBA as they hosted yet another incredible annual festival. All weekend long, the grounds of the U.S. National Arboretum buzzed with activity, joy, and curiosity. Guests explored the National Bonsai & Penjing Museum, watched awe-inspiring bonsai demonstrations, sipped tea in honor of the Yamaki Pine, participated in hands-on workshops, browsed vendors, found their next bonsai project... and celebrated the art of bonsai together.

As Museum Curator Michael James reflected, the scale and spirit of the event was inspiring. "It was amazing to see the Museum honored by the presence of thousands of visitors from all walks of life," he said. "World Bonsai Day gave us a chance to show how deeply this art form connects people across cultures and generations."

L to R: Aaron Stratten, past president of the Potomac Bonsai Association; Ambassador James Zumwalt, Chairman, Japan-America Society; Ambassador Shigeo Yamada, the Ambassador of Japan; Dr. Richard Olsen, Center Director of the U.S. National Arboretum; Michael James, Curator, National Bonsai & Penjing Museum; Ben de Guzman, Director, Mayor’s Office on Asian and Pacific Islander Affairs

This year we celebrated the 400th anniversary of the Yamaki Pine, also known as the Peace Tree, which stands as a powerful symbol of resilience, peace, and friendship. We marked the occasion with a formal tea toast led by Dr. Richard Olsen, Center Director of the U.S. National Arboretum, and Ambassador Shigeo Yamada, the Ambassador of Japan. This meaningful recognition added a moment of elegance and quiet reflection to a busy, joy-filled day. We are grateful for the specialty Japanese tea service provided by local DC shop Teaism.

L to R: Dr. Richard Olsen, Center Director of the U.S. National Arboretum; Le Ann Duling, President, Potomac Bonsai Association; Ambassador Shigeo Yamada, the Ambassador of Japan; Ambassador James Zumwalt, Chairman, Japan-America Society; Michael James, Curator, National Bonsai & Penjing Museum; Ben de Guzman, Director, Mayor’s Office on Asian and Pacific Islander Affairs

Alongside Dr. Olsen and the Ambassador, we were honored to welcome a remarkable group of speakers and special guests whose presence elevated the spirit and significance of the event:

  • Ambassador James Zumwalt, Chairman, Japan-America Society

  • Ben de Guzman, Director, Mayor’s Office on Asian and Pacific Islander Affairs

  • Le Ann Duling, President, Potomac Bonsai Association

  • Aaron Stratten, Immediate Past President, Potomac Bonsai Association

  • Michael James, Curator, National Bonsai & Penjing Museum

We are deeply grateful to them for joining us this year to share their thoughtful reflections on the art and practice of bonsai around the world.

Aaron Stratten and expert guest artist Andrew Robson of Rakuyo Bonsai

Guy Guidry of NOLA Bonsai

The weekend featured engaging, expert-led workshops that drew large, enthusiastic crowds. Our special guest artists, Guy Guidry and Andrew Robson, brought decades of experience and a passion for sharing the art of bonsai. Guidry, known for his bold, expressive styling, demonstrated dramatic transformations that captivated onlookers. Robson, a rising leader in American bonsai, focused on naturalistic approaches to deciduous trees, blending tradition with innovation. Attendees learned both foundational skills and advanced techniques, and many walked away with fresh inspiration and new perspectives.

Sandra Moore reads from her book about the Yamaki Pine.

Sandra Moore, author of The Peace Tree from Hiroshima, joined us as well, sharing the story of the Yamaki Pine with families and young visitors. Her engaging presence and thoughtful readings helped connect the history of this remarkable tree to new generations, reinforcing the themes of peace, resilience, and cross-cultural friendship at the heart of World Bonsai Day.

Museum Volunteer and Docent Phillip Merrit

This festival simply wouldn’t be possible without the dedicated volunteers from PBA, who showed up in full force. Members from Brookside Bonsai Society, Maryland Bonsai Association, Northern Virginia Bonsai Society, and Richmond Bonsai Society helped make the entire weekend run smoothly—with visitor guidance, knowledgeable advice, and hands-on event support.

We also welcomed friends from Baltimore Bonsai Club, the Potomac Viewing Stone Group, and even a full busload of members from the Pennsylvania Bonsai Society, one of the oldest bonsai organizations in the United States. We are so appreciative that they made the trip to celebrate with us! Dan Angelucci and Ross Campbell from the National Bonsai Foundation’s Board of Directors were also in attendance, and we're grateful for their leadership.

A family enjoys World Bonsai Day at the National Bonsai and Penjing Museum.

Le Ann Duling, President of PBA, noted that everyone went above and beyond, highlighting how vital our regional clubs and members are to making this festival possible. "Everyone did more than their jobs," she said. "This was a powerful reminder of the strength of our community—and how much we can accomplish when PBA clubs come together."

Grillmaster BBQ serves visitors at World Bonsai Day.

A heartfelt thank you to the food trucks that kept our guests fueled and smiling throughout the weekend: GrillMaster BBQ, Taco Dirty to Me, DC Slices, Blossom Bakery, and Captain Cookie. Their presence helped make the day deliciously memorable.

Workshop participants at World Bonsai Day

World Bonsai Day reminds us that bonsai is more than an art form—it’s a living tradition that brings people together across generations and cultures. The day was founded in honor of bonsai master Saburo Kato, who taught that bonsai no kokoro, or the spirit of bonsai, is rooted in peace, respect, and shared connection. The PBA Festival showed that this spirit is alive and well.

Thank you to the honored guests, expert artists, dedicated volunteers, helpful partners, and curious visitors who made the weekend so unforgettable! We’re honored to celebrate the beauty, tradition, and future of bonsai with all of you.

Thank you to the volunteers who help the Museum grow

Museum volunteers Akiko, Lori, and Joe.

At the National Bonsai & Penjing Museum, every tree needs expert attention—watering, pruning, wiring, and daily care. Much of that work falls to a very small and highly skilled team of staff and curators. They’re joined in this effort by a dedicated group of volunteers who help care for the Museum's collections, offering support rooted in their deep passion for the art of bonsai.

These volunteers assist with a wide range of tasks, from preparing soil and weeding, to helping set up displays, to carefully maintaining the artistic and biological needs of these living artworks. They offer an extra set of hands during routine work and also assist with bigger projects that require more time and effort.

Museum volunteers David, Alex, and Mackenzie.

Museum volunteer Le Ann.

Their tasks vary by season and need: Sometimes it's repotting, styling trees, and organizing tools, and other times it's cleaning workshop areas or helping set up for special exhibits. Many return week after week just to water trees or assist with routine care—small, consistent actions that make a big difference. Whether working directly with the plants or supporting behind-the-scenes efforts, these volunteers provide a reliable presence that the curators count on.

Curator Michael James with Museum volunteer Steve.

One example was a moment when the Imperial Japanese Pine, an illustrious bonsai more than 230 years old, needed to be repotted. Not only a masterpiece work of art, the tree is large and very heavy — so the work had to be done quickly to avoid stressing it. One volunteer spent the entire day with the team outside in the elements lifting, moving, monitoring, and supporting the process until the tree was back in its display area, as if it had never been touched.

Museum volunteer Tom.

That kind of dedication shows up every week at the Museum. Volunteers step in when needed and stay until the job is done. They help the curators focus on what matters most: The precise, daily, and deeply intentional care that keeps each tree alive, evolving, and full of meaning.

To everyone who has ever spent time supporting the Museum: Thank you! Your dedicated efforts and energy help protect, preserve, and promote America's national collections of bonsai and penjing.

Museum volunteers Ryan and Paula.

Volunteers are also essential to the success of events like our World Bonsai Day celebrations during the Potomac Bonsai Association Festival — coming up May 10-12 — where their help makes it possible to welcome guests, host exhibitions and programs, and share the beauty of the art of bonsai with the public.

To see the full schedule, please visit bonsai-nbf.org/wbd2025. And if you see a volunteer while you’re there, say thanks.

 

Volunteers at the Museum
Click on any photo to enlarge. Scroll with arrows.

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Honoring artists who are shaping the future of American bonsai

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Clockwise from top left: Blue Spruce by Karen Harkaway; Western Hemlock by Nick Lenz, donated by Mike McCallion; Douglas Fir donated by Bjorn Bjorholm and Richard Le; Horseshoe suiseki from Seiji Morimae and Ronald Maggio; Crepe Myrtle from McNeal McDonnell, styled by Bjorn Bjorholm.

RECENT Donations to the National Bonsai & Penjing Museum
RECAP

Over the past few weeks, we’ve shared the stories behind the five remarkable additions to the National Bonsai & Penjing Museum’s collections. These gifts, from visionary bonsai artists and collectors, reflect the vibrant evolution of this traditional art and its expanding scope in North America.

Blue Spruce by Karen Harkaway.

Thanks to the generous donors, these bonsai and suiseki continue as a living legacy — one that will inspire, educate, and connect people through the power of natural art.

Douglas Fir collected by Richard Le and cultivated by Bjorn Bjorholm.

These pieces are far more than beautiful additions to the Museum’s renowned Japanese, Chinese, and North American collections. They represent an evolution that honors tradition while propelling the art of bonsai forward.

Crepe Myrtle by McNeal McDonnell, styled by Bjorn Bjorholm.

Each tree tells a story of American creativity rooted in carefully selected native species. The Douglas Fir, Blue Spruce, Crepe Myrtle, and Western Hemlock are not only emblematic of North America’s diverse landscapes, but also demonstrate how bonsai in this region is developing its own voice—one that values innovation while continuing to pay homage to its rich history.

The suiseki offers a moment of peaceful contemplation, presenting evocative symbolism of the earth and its waterways that reminds us of our deep connection to the natural world. It also stands as a symbol of connection, friendship, and the enduring bonds between cultures that have preserved and shared this art form across generations.

Western Hemlock by Nick Lenz, donated by Mike McCallion.

In case you missed the full series, here’s a look back at the impressive additions to the Museum in 2024. Click any of the images to enlarge, and click the links below to read the story of each one:

A beautiful Blue Spruce by Karen Harkaway, president of the American Bonsai Society;

A striking Douglas Fir, collected by Richard Le and cultivated by Bjorn Bjorholm;

An intricate Crepe Myrtle from McNeal McDonnell, styled by Bjorn Bjorholm;

A majestic Western Hemlock, created by innovative artist Nick Lenz and donated by Mike McCallion;

Horseshoe suiseki donated by the family of Ron Maggio, presented by Sieji Morimae.

And a remarkable Horseshoe suiseki presented by Seiji Morimae on behalf of the family of Ronald Maggio.

In 2024, the Museum focused on North American artists, species, and collectors celebrating the growing influence of American bonsai within a global conversation. These additions remind us that bonsai is not static but constantly evolving, shaped by the hands of dedicated artists, curators, and supporters like you.

Arboretum Director Dr. Richard Olsen, Assistant Curator Andy Bello, Curator Michael James, and artist Dr. Karen Harkaway.

The generosity of donors makes it possible to preserve, care for, and share these living works of art with the world. Every gift supports the Museum’s mission to foster appreciation of bonsai as a cultural and artistic tradition, rooted in nature and alive with possibility.

NBF Board Member Ross Campbell, former PBA president Aaron Stratten, Curator Michael James, artist Bjorn Bjorholm, and NVBS president Roberto Coquis.

The National Bonsai Foundation is proud to help introduce these five remarkable specimens into the permanent collection at the National Bonsai & Penjing Museum. We extend our deepest gratitude to the artists and donors: Karen Harkaway, Richard Le, Bjorn Bjorholm, McNeal McDonnell, Nick Lenz, Mike McCallion, the family of Ronald Maggio, and Seiji Morimae.

We invite you to come see these new additions in person at the U.S. National Arboretum in Washington, D.C. — and to continue following these stories as they grow.

If you missed our original announcement, you can read the introductory blog.

A Natural Treasure From the Abe River in Japan

RECENT Donations to the National Bonsai & Penjing Museum
Part 6/6

In 2024, the National Bonsai & Penjing Museum welcomed five remarkable new additions—four exquisite bonsai and a striking suiseki. Each piece tells a unique story, reflecting the artistry, history, and evolving traditions of bonsai. Carefully selected for their cultural significance and artistic merit, these new acquisitions highlight the diversity of bonsai and its growing influence in North America. Join us as we explore the fascinating origins, creative vision, and horticultural mastery behind these latest treasures.

On behalf of Ron Maggio’s family, Seiji Morimae presents the Horseshoe suiseki to Dr. Richard Olsen, Director of the U.S. National Arboretum, in 2024.

When searching for suiseki, or “waterstones,” beauty is in the eye of the beholder. Like other art forms, these viewing stones are open to interpretation, and every viewer will find their own meaning in each one. But when a special stone is discovered, it’s hard not to be compelled to share its captivating form with the world.

The Horseshoe suiseki, or waterstone, on its Kiribako display.

Viewing stones, which can be appreciated for their likeness to naturally occurring scenes or objects, are often sourced from rivers or beaches where centuries of water movement, tumbling, and erosion shapes and softens their sharp edges.

In 2024, the family of the late Ronald Maggio, a passionate and prolific collector of bonsai and suiseki, donated one such stone to The National Bonsai & Penjing Museum.

Maggio, who also cared for bonsai, exhibited several suiseki throughout his life, including at the 61st Exhibition of Suiseki Masterpieces, the U.S. National Bonsai Exhibition, and the 10th Japan Suiseki Exhibition. He was known for hosting suiseki displays and demonstrations and for his meticulous stone records. He liked to exhibit suiseki in the name of his son and grandson, and he could often be found traveling around the world with his wife JoAnn, hunting for the next enchanting suiseki.

Seiji Morimae at the National Bonsai and Penjing Museum in 2024.

Seiji Morimae — a renowned bonsai and suiseki expert, board member of the Nippon Suiseki Association, and longtime supporter and donor to the Museum — previously owned the stone. Maggio purchased it from his personal collection on a trip to Japan. On behalf of the Maggio family, Seiji presented the stone to the Arboretum’s director, Dr. Richard Olsen, during a recent visit to the Museum in 2024. Peter Warren, an international bonsai professional based outside London and one of the few who has completed a full six-year apprenticeship in Japan under legendary expert Kunio Kobayashi, accompanied the trip and served as translator.

This particular suiseki, nicknamed the “Horseshoe stone”, was formed by natural geologic processes in Japan’s Abe River. The Abe — which is known for its crystal-clear waters, stunning mountain scenery, and as the likely birthplace of wasabi cultivation due to its mineral-rich streams — flows near Mount Fuji and the city of Shizuoka on Honshu, Japan’s main island.

A vintage description of the suiseki.

The remarkable viewing stone is displayed atop a Kiribako, a wooden box traditionally carved to protect and present special gifts and goods that also serves as a symbol of good luck and prosperity. The two Japanese characters on the box translate as “seisen”, literally “ground water coming out naturally” — otherwise known as a natural spring. Including the Kiribako, which helps to display the stone’s unique formation, the suiseki measures 14.5 cm wide by 12.5 cm deep by 10.4 cm tall.

This Abe River stone, naturally shaped by wind and water over centuries, holds deep spiritual significance. The Horseshoe stone’s “heavenly pond” feature embodies the serenity and spirituality found in Japanese tea ceremonies. Metaphorically, the puddle that collects within it can represent a hole that contains the entire universe.

Museum Curator Michael James, Peter Warren, Seiji Morimae, and U.S. National Arboretum Director Dr. Richard Olsen at the National Bonsai and Penjing Museum.

The stone adds another layer of cultural and artistic depth to the Museum’s collection, offering visitors a unique look at suiseki, a medium closely linked to bonsai and often placed side-by-side with tree displays. Through the dedication and generosity of collectors like Morimae and Maggio, the Museum remains a place where visitors can appreciate the rich heritage of these art forms. In this way, the Museum continues to serve as a cultural bridge between East and West, preserving these ancient traditions for future generations.

The stone now finds a home at the Museum, honoring the legacy of Ron Maggio, who passed away in July 2024. We are deeply grateful to the Maggio family for their kindness and generosity in donating the stone.

Seiji Morimae (center) explains the significance and artistic merit of the Horseshoe stone, alongside Peter Warren (left) and Dr. Richard Olsen (right) at the U.S. National Arboretum.

We send special thanks to Seiji Morimae for facilitating its delivery and for his longtime support of the Museum.

We also recognize Jason Cederberg, member of the Bonsai Society of Upstate New York, for assisting JoAnn and Seiji in transporting the display to its new home; and Peter Warren, who accompanied Seiji to deliver the stone and served as translator during his visit.