Inside the Museum, Museum Curators, NBF News
Brendan Bailes
Spring Arrives with Fresh Blooms and Budding ...
Spring Arrives with Fresh Blooms and Budding Bonsai
Bonsai People, Inside the Museum, Museum Curators, Museum Donors Trees
Brendan Bailes
Introducing Stunning Recent Additions of Bonsai ...
Introducing Stunning Recent Additions of Bonsai and Suiseki
Inside the Museum, Photographing Bonsai
Brendan Bailes
Our Best Bonsai Photos of 2023
Our Best Bonsai Photos of 2023

National Bonsai and Penjing Museum

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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.

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Spring Arrives with Fresh Blooms and Budding Bonsai

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Japanese apricot (Prunus mume 'Kobai')

Sunlight glinting off bright, young leaves. The aroma of sweet quince drifting across your path. The ambiance of refreshed, peaceful trees in the courtyard.

No, this is not a dream — it’s just a peek into the sensory experiences that await you at the National Bonsai & Penjing Museum this spring.

Kusamono display

The energy of the season always brings lots of activity to the Museum, from new growth and fresh buds to tree placement shuffles and pavilion adjustments. In an interview this week, Museum Curator Michael James shared an inside look at preparing for the surge of warm weather visitors, and he discussed what makes the beauty of bonsai so unique.

The Post-Winter Waltz

Sensitive trees are protected in the greenhouse with controlled temperatures during the frigid months. Meanwhile, the consistently cold weather this past winter has prepared the trees for strong growth this spring. Winters that are peppered with warm and sunny days encourage bonsai and penjing to open up earlier than preferred, Michael said.

“When those leaves emerge under glass or in a protected environment, they’re extra thin, and sensitive to sun and wind,” he said. “If we move the trees out at that point, any slightly harsh weather can easily damage that foliage. This year, the trees have stayed very dormant, so we can move the deciduous trees outside before they sprout.”

Trident maple (Acer buergerianum subsp. forosanum ‘Miyasama’)

Every spring, staff complete a major structural change at the Museum by removing the roof of the Chinese Pavilion, which no longer requires winter protection. But the trees aren’t yet completely in the clear. Museum staff remain on frost watch, in case a cold snap sweeps through and requires them to protect these specimens once again.

“There’s this spring dance in horticulture of watching the weather for that last cold night, that last freeze, and moving sensitive plants back inside for a night or two as needed,” Michael added.

A New Focus

The springtime shuffle also allows staff to intentionally ponder this year’s displays. Michael, alongside Assistant Curator Andy Bello and other Museum staff, build the bonsai, penjing, and stone placements from scratch each year, ensuring the dominant flow of directional branches leads visitors through the enchanting exhibits.

Sargent juniper (Juniperus chinensis var. sargentii)

The courtyard display for 2025 showcases native species from the Museum’s collections, aligning with the U.S. National Arboretum’s Lahr Native Plant Symposium, hosted annually in March.

“It’s amazing to see every pedestal in the central courtyards display a native tree this year,” James said. “These species are all relatively new to bonsai, because they weren’t used in the Chinese and Japanese tradition. It really shows how bonsai is global now.”

Though leaf removal, root care, and other maintenance might need different approaches from more traditional bonsai species, Michael and his team have developed their expertise by working with native trees and getting to know their unique characteristics.

Native species also naturally draw pollinators, which facilitates a healthy ecosystem. They are well-adapted to the local environment, making them excellent choices for bonsai cultivation that reflects the natural appeal and resilience of regional landscapes.

Spring Showstoppers

Japanese maple (Acer palmatum)

As with most gardens or naturally occurring vegetation, the beauty of bonsai flourishes in the spring. Small vegetative buds open up on deciduous trees, while the flowering species flaunt their scents and petals.

Drummonds red maple (Acer rubrum var. drummondii)

Chinese quince (Pseudocydonia sinensis)

In the international pavilions, inconspicuous red pearls on maple varieties will unfurl into delicate, star-shaped flowers, while the Japanese apricots boast bright pink blooms. The Chinese quince will display unique flowering, which occurs on bare branches before vegetation sprouts, as well as the cherries. Crab apples and tricolor Higo camellias already have leaves when flowering. Satsuki azaleas will be in full bloom for May visitors – with "satsuki" referring to the "fifth month" in Japanese.

Can’t-Miss Events

Please join us for the Potomac Bonsai Association Festival on the weekend of May 10-11, which coincides with World Bonsai Day on May 10. We will also be celebrating an incredible milestone: The 400th anniversary of the legendary Yamaki Pine. Stay tuned for more about these events in the next few weeks!

World Bonsai Day will include a Beginner Bonsai Workshop (Saturday and Sunday), as well as appearances and workshops from Andrew Robson of Rakuyo Bonsai (Saturday) and John Naka student and contemporary Guy Guidry of NOLA Bonsai (Sunday), who will demo work on his tree in the North American collection.

We hope to see you soon to absorb the beauty of the art of bonsai this spring! Stay tuned for more information on World Bonsai Day and plan your visit here.

 

Click images below to enlarge. Photos by Stephen Voss.

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Queen of the Crepe Myrtles

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RECENT Donations to the National Bonsai & Penjing Museum
Part 4/6

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.

The magnificent bonsai displayed at the National Bonsai & Penjing Museum often hail from unassuming locales across the world. This particular crepe myrtle seemed destined to land back at the U.S. National Arboretum.

In May 1978, the U.S. National Arboretum officially released a cultivar of crepe myrtle called Lagerstroemia indica, or Natchez, that had been specifically bred for its resistance to disease. The seeds were a cross between Asian crepe myrtle genes, impervious to powdery mildew, and U.S. genes that produce the iconic crepe myrtle flowers and mottled bark. They were sent to nurseries all over the United States.

Cliff Pottberg, owner of a Florida nursery called Bonsai at Pasiminan, grew this specimen for more than 35 years, alongside a field of 25 other crepe myrtles. Brussel Martin – founder of Brussel’s Bonsai, the largest nursery in the United States – purchased the tree in 2013 and cared for it for 10 years.

Martin’s nursery manager helped transplant the crepe myrtle from Pasiminan and was told that the tree was either of Natchez or Muskogee cultivar, but this mystery remained unsolved. Although its specific origin had been lost to time, the tree stood out as a quintessential example of a flowering bonsai.

Recognizing the uniquely special characteristics of the tree, McNeal McDonnell – previous co-owner and now sole owner of Brussel’s Bonsai – generously donated it to the Museum. McNeal is a business entrepreneur with a deep appreciation for the art and beauty of bonsai.

In early 2024, the crepe myrtle arrived in Washington, DC. Noted bonsai expert Bjorn Bjorholm, with support from Curator Michael James and Assistant Curator Andy Bello, styled the tree in the Museum’s Yuji Yoshimura Lecture and Demonstration Center. Guided by Bjorholm’s artistic insight while honoring the original vision for the tree, they trimmed, wired, and shaped the crepe myrtle to prepare it for its new home on display among the native species in the North American Pavilion.

Assistant Curator Andy Bello, Curator Michael James, and bonsai artist Bjorn Bjorholm after styling the Queen of the Crepe Myrtles, 2024.

Four months later, the tree finally flowered. This allowed a botanist on staff to determine that this species was none other than Natchez, the very same cultivar that the Arboretum had introduced back in the 1970s – bringing the Lagerstroemia indica full circle, back to its roots.

Curator Michael James said this cultivar demonstrates how a plant’s value can increase both through breeding – ensuring a species is disease resistant, tolerates droughts, produces more ornate flowers, etc. – and through artistic training techniques.

U.S. National Arboretum Director Dr. Richard Olsen admires the crepe myrtle.

“People often don’t make the connection between bonsai and scientific institutions,” Michael said. “But if you’re going to care for a plant that will last longer than your lifetime, it’s important to start by choosing a plant with strong attributes.”

With its glossy, dark green leaves and pure white flowers, this elegant deciduous tree became known as the “queen of crepe myrtle,” a perfect example of how the Arboretum’s and Museum’s missions are intertwined. The species’ mottled cinnamon bark and powdery, mildew-resistant foliage flaunts its long-tapered pure white flowers between June and September.

We look forward to seeing you at the Museum this summer, when you will be able to witness the crepe myrtle’s full bloom.

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From Wilderness to Wonder: The Journey of Little Lonely Doug

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Bonsai artist, expert, and donor Bjorn Bjorholm with Little Lonely Doug outside the North American Pavilion at the National Bonsai and Penjing Museum.

RECENT Donations to the National Bonsai & Penjing Museum
Part 2/6

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.

In 2016, in the nooks and crannies of the Rocky Mountains in the greater Denver area, Richard Le discovered “Little Lonely Doug”.

Little Lonely Doug, 2024.

The tree – unique in its scale, taper, age, and character – represents one of North America’s oldest and largest conifers, the Douglas fir (Pseudotsuga menziesii). It was named in honor of Vancouver’s iconic, 230-foot “Big Lonely Doug,” the last Douglas fir standing in the Gordon River Valley, after intense and devastating logging deforestation.

Le, who spends time hunting for large yamadori, or “bonsai from the wild”, sells the trees he collects for use as bonsai or ornamental landscape trees. Little Lonely Doug, which was one of Le’s most compelling discoveries, ended up at Eisei-en, the well-known bonsai artist Bjorn Bjorholm’s nursery, garden, and school in Nashville.

Little Lonely Doug was the first tree to arrive at Bjorholm’s nursery upon its opening in 2018. There, the Eisei-en team repotted the fir in a more suitable container. In the spring of 2020, the tree went through another repotting and styling, while it finished out its term as a centerpiece at Eisei-en.

Staff from the U.S. National Arboretum position Little Lonely Doug in the North American Pavilion at the National Bonsai & Penjing Museum.

The fir was one of the last trees to leave the nursery when Bjorholm moved his business to Kyoto, Japan, where as a student he had completed a study abroad program and met his future wife. He also spent 16 years as a bonsai apprentice in Osaka. Marianne Duhamel, Montreal Botanical Garden’s penjing curator, rewired and styled the tree again under Bjorholm’s direction, just before its arrival at the National Bonsai & Penjing Museum. In March 2024, Le and Bjorholm donated this striking specimen to the Museum.

Staff from the U.S. National Arboretum, including Director Dr. Richard Olsen, Museum Curator Michael James, and Assistant Curator Andy Bello, were on hand to welcome the bonsai to the collections. They were joined by NBF board members Stephen Voss and Ross Campbell, as well as Executive Director Bobbie Alexander.

Left to Right: U.S. National Arboretum Director Dr. Richard Olsen, NBF Board Member Stephen Voss, NBF Board Member and Officer Ross Campbell, bonsai artist, expert, and donor Bjorn Bjorholm, Museum Curator Michael James, Assistant Curator Andy Bello.

Also joining the welcome committee were Aaron Stratten, immediate past President of Potomac Bonsai Association, and Roberto Coquis, President of the Northern Virginia Bonsai Society. Our local clubs do so much to support the art of bonsai, and we are grateful for their presence. Everett Miller, the Diplomatic Associate for the Economic Section of the Embassy of Japan, attended the ceremony as well. We greatly appreciate their partnership and friendship.

Left to Right: Museum Curator Michael James, NBF Board Member and Officer Ross Campbell, immediate past President of Potomac Bonsai Association Aaron Stratten, bonsai artist, expert, and donor Bjorn Bjorholm, President of the Northern Virginia Bonsai Society Roberto Coquis, Assistant Curator Andy Bello.

These esteemed guests helped Little Lonely Doug find its home in the North American Pavilion, where it proudly represents an American species of evergreen conifer with a rugged appearance, hardy resilience, and uniquely “wild” look.

You can see more about the tree’s life and journey to the Museum’s North American Pavilion in Eisei-en’s beautiful tribute.

Little Lonely Doug also found a spotlight as the star of the National Bonsai Foundation’s limited edition World Bonsai Day 2024 clothing line, designed by Aaron Stratten.

The Museum is open daily (see hours), if you want to help Doug feel a little less lonely!

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The First Signs of Spring

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This article from NBF officer and board member Ross Campbell first appeared in the March 2025 edition of Snippets, the Brookside Bonsai Society’s newsletter.

We were foiled by unusually cold temperatures in February and thus discouraged from starting our repotting checklist. But now the weather has warmed into the 60s, and our trees are beginning to respond. The forecasts look promising for the next week or so, meaning that it should be safe to repot. Keep in mind that newly repotted trees still need to be protected from a sudden freeze.

At the National Bonsai and Penjing Museum, many of the trees are wintered in the Chinese Pavilion. The Pavilion is somewhat warmer than ambient temperatures because of the glass panels in the roof and the walls and doors. As a result, trees begin to break dormancy in the Pavilion a little earlier than they would otherwise. A recent stroll past the benches found several trees with buds that are starting to swell.

Parsley Hawthorn (Crataegus marshallii)

The buds on this Parsley Hawthorn are gratifying to see. Proof that Spring is close at hand. This native of the Southeastern U.S. was named in honor of botanist Humphry Marshall (1722-1801), an American botanist. (Not after Elvis Parsley, as you may have thought.) Marshall is known as the “father of American dendrology.”

Chinese Quince (Pseudocydonia sinensis)

This Chinese quince is far ahead of the hawthorn, with some leaves fully open and flowers soon to follow. One of the original 1976 Bicentennial gifts to the nation from Japan, this quince has been in training since 1875. That means that the tree is celebrating its “Sesquincentennial” this year. ;)

Drummond Maple (Acer rubrum drummondii)

If you look closely, you can see not only the buds at the tips of this Drummond Maple’s branches, but also along the branches. It appears that pruning has triggered interior buds, a very welcome development.

Chinese Elm (Ulmus parvifolia)

On the other hand, this Chinese Elm forest is still in the depths of winter dormancy, at least to all outward appearances. Perhaps it is convenient that different species wake up at different times; that way we can schedule deciduous bonsai repotting in a sequential manner, starting with those that are showing bud swelling.

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Together, we are growing the art of bonsai

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I find myself returning to bonsai again and again to experience the serene joy they offer.

When I began photographing the collections at the National Bonsai & Penjing Museum two decades ago, I thought the project would have an obvious endpoint.

After my book of bonsai photographs was published in 2016, it seemed a natural place to stop.

And yet, I found myself returning to the museum month after month, year after year, to visit these trees that inspire me. The experience always gives me that “first time feeling” I once had more than twenty years ago: A sense of peace and admiration for the grace and beauty of these magnificent trees.

One of my favorite poems is this haiku from the 10th century by famed Japanese poet Bunya no Asayasu:

“In a gust of wind the white dew
On the autumn grass
Scatters like a broken necklace.”
— Bunya no Asayasu

This work marvels at the beauty of nature while remarking on its fleeting transience. Similarly, each trip to the museum, no matter how brief, enriches my lifelong experience of the place. I visit with my favorite trees, savor their seasonal changes, and admire the subtle growth of their branches over time.

When we talk about a “living art”, this is the unique gift it offers us: Natural artwork that evolves every day, with an ephemeral beauty which outlasts all of us, yet is impossible to capture permanently. The trees we see on display are not an end result, but part of a continuing conversation the talented artists have with their subjects.

The National Bonsai Foundation has a vital role in supporting this work. We train the next generation of bonsai practitioners, facilitate the acquisition of historic trees and viewing stones for the collections, and promote this legendary but niche art form.

With the support of our passionate, dedicated community, we will continue to partner with the museum, preserve the legacy of these trees, and ensure that they will flourish for generations to come.

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Photographing Bonsai with Stephen Voss: Trees in Transition

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By Stephen Voss

Stephen Voss is an accomplished professional photographer and member of the National Bonsai Foundation’s board of directors. His photographs are held in the permanent collections of the Library of Congress and the DC Commission on the Arts and Humanities.

For many years, Stephen has honored an annual fall tradition of visiting the National Bonsai & Penjing Museum at the U.S. National Arboretum. He strolls the serene grounds, taking remarkable photos of trees in transition. Below, he shares reflections from his most recent visit in November 2024.

Each fall season at the National Bonsai & Penjing Museum feels like an opportunity to learn something new about the colorful transition of vibrancy and change.

A wonderful Washington Post article outlined the life cycle of a leaf, and I was amazed to learn that as the leaves lose the chlorophyll that makes them green, they reveal their actual colors. That means that the fall colors we're now seeing have been there all along — waiting for this moment to set the museum alight.

The museum is never a static place, and on every visit I find a fascinating new discovery.

This time, I notice a sizable quince fruit hanging off a tree, and a beautiful selection of Chrysanthemums in the Vaughn Banting courtyard, outside of the exhibit space.

A profusion of tiny pollinators swirl around the garden mums along the Kato Family Stroll Garden, as small piles of leaves gather in the nooks and crannies of this peaceful place. The lack of rainfall this season has made for somewhat muted colors; there are more browns than oranges and reds, and we’ve had unusually warm days that maybe aren’t so unusual anymore.

For a long time, I came to the museum and went straight to the bonsai, drawn to their magnificence at the expense of the surrounding gardens. My photos for many years were close-up images, guided by minimalist tendencies. I still lean in that direction; but now, I’m also so taken by the interplay of the trees within the larger space, and how I might interpret these interactions visually. The whole of the museum contributes to the experience of visiting the trees.

Visitors pass through the exhibit space, murmuring questions about the trees and taking in their structural forms that are slowly revealed by the shedding of leaves. It occurs to me that not a day goes by at the National Bonsai & Penjing Museum when someone visits who has never been there before.

As the seasons change, the Museum changes too — revealing another unique chapter in the story of this special place and these incredible trees.

All photos © 2024 Stephen Voss. (Thank you, Stephen!)

Click any of the images below to enlarge it. You can scroll through the gallery using the arrow keys or by clicking the left or right icons.

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Seiji Morimae visits the National Bonsai and Penjing Museum

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We were recently honored by a visit from Seiji Morimae, a renowned figure in the world of bonsai and suiseki. Morimae holds special esteem at both the National Bonsai Foundation and the National Bonsai & Penjing Museum in Washington, D.C., which he has supported for many years.

Curator Michael James welcomes Yaeko and Seiji Morimae to the National Bonsai & Penjing Museum.

As a bonsai expert and board member of the Nippon Suiseki Association, he has made significant contributions to the preservation of Japanese bonsai culture. His deep connection with the museum, particularly as a donor and cultural ambassador, underscores his lasting impact.

Welcoming Seiji and his wife Yaeko for a tour of the National Bonsai & Penjing Museum, we honored his lifelong dedication to bonsai and suiseki while viewing the highlights of America’s renowned national collections. Dr. Richard Olsen, director of the U.S. National Arboretum – along with museum curator Michael James, and National Bonsai Foundation executive director Bobbie Alexander – were on hand to officially welcome the Morimaes. Jack Sustic, Chair Emeritus of the National Bonsai Foundation and Vice-Chair of the World Bonsai Friendship Federation, also joined the group in the welcome. Peter Warren, an international bonsai professional – one of the few who has completed a full six-year apprenticeship in Japan under legendary expert Kunio Kobayashi – accompanied the Morimaes and served as translator.

Among the highlights at the Museum is Morimae’s gift of a “hut stone” suiseki, displayed in the traditional tokonoma setting – a tribute to his commitment to preserving and sharing Japanese culture. He has also donated several first-class bonsai over the years. In the North American Pavilion, Michael discussed how American bonsai has evolved, inspired by influential leaders like Morimae. Dr. Olsen concluded with remarks on the museum’s role in advancing the art of bonsai in America, celebrating Morimae’s impact and support. The event ended with refreshments and reflections on his exceptional contributions to these timeless art forms.

credit: valavanisbonsaiblog.com

Morimae's journey into bonsai began more than 50 years ago with a dedication to the art of formal display, also known as keido. He has learned from and studied with revered bonsai artists, including Susumu Sudo, Jiro Fukuda, and Masahiko Kimura, who shaped his approach and artistry. His life has been deeply intertwined with the practice and philosophy behind these forms, and over the years, he has established multiple bonsai and suiseki businesses, including the prestigious Kyoto Bonsai Garden at the Daitoku-ji Temple in Kyoto, Japan.

His connection to the National Bonsai & Penjing Museum has spanned many years, where he has donated both bonsai trees and suiseki stones, helping to enhance the museum’s nationally renowned collections. He has visited the United States numerous times over the past 20 years to share his expertise on the arts of bonsai and suiseki.

credit: valavanisbonsaiblog.com

In 2017, during the renovation and rededication of the museum’s Japanese Pavilion, Morimae delivered a speech expressing his gratitude for the museum’s role in preserving bonsai trees gifted to the United States. He shared that these living symbols of friendship between Japan and America are more than just plants—they are a carrier of our stories, a marker of our time, and a reminder of nature’s elegant resilience​.

“This is the magnificence of life,” Morimae said. “I believe that bonsai can teach us about our own lives.  Each of them tells its own humble story, woven of nature, human history, and time itself.”

Seiji Morimae’s presence at the museum is not just symbolic; it speaks to his deep sense of responsibility. As a figure of great respect in the bonsai community, he often plays the role of a "big brother," checking on the museum’s Japanese bonsai collection, much like the revered Saburo Kato before him. This support has helped the museum maintain a high standard of care and presentation, ensuring the continued vitality of its bonsai and suiseki displays.

Morimae’s dedication to bonsai has also been captured in various media, including the U.S. National Arboretum’s Bicentennial Bonsai film. His passion for bonsai and suiseki extends beyond physical preservation; it is about sharing a philosophy of life that bonsai can teach us—about resilience, growth, and the delicate balance between nature and humanity.

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

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Chin Fun Kwok and his family honor the Museum with a special visit

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Today, the National Bonsai Foundation and National Bonsai & Penjing Museum welcomed Chin Fun Kwok, along with his wife Florence and daughter Daphne, to celebrate his venerated legacy.

In attendance were Museum Curator Michael James and NBF executive director Bobbie Alexander, who presented Mr. Kwok with a certificate of appreciation on behalf of the NBF Board, honoring his dedication and significant contributions. James also presented a certificate on behalf of the U.S. National Arboretum, which has housed the Museum since its inception in 1976. Also joining the celebration were esteemed former NBF board members Chuck Croft and Joe Gutierrez, as well as Jack Rubenstein, an active bonsai community member and officer of the Northern Virginia Bonsai Society.

Together, we proudly honored Mr. Kwok for his remarkable dedication and countless contributions to bonsai and penjing. Over his 25-year tenure on the NBF Board, Kwok’s leadership, expertise, and love for the art form have left an indelible impact. His engineering insights were instrumental in the design and construction of the Museum’s Chinese Pavilion, which now houses the treasured penjing collection.

The Pavilion, brought to life by Chinese craftsmen, features traditional wooden gates, decorative tiles, a serene moon gate, garden stones, and an exquisite dragon wall. Each winter, it transforms into a walk-in cold frame to shelter temperate bonsai from harsh weather, a practical feature blended seamlessly into its elegant design. Above the towering red doors, golden Chinese characters welcome visitors, inscribed with a message that Mr. Kwok translated for us: "The Garden for the Study of Ornamental Horticulture." This message captures the Pavilion’s essence—a place of learning and appreciation of nature’s beauty.

The Kwok family’s legacy extends further through a special bonsai stand donated in Mr. Kwok’s honor, handcrafted by David Knittle, a distinguished bonsai display artisan whose work is celebrated in national exhibitions.

NBF and Museum staff are deeply grateful to Mr. Kwok for his generosity, vision, and dedication, which have enriched the Museum and inspired the bonsai community.

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Curating Bonsai: What I Learned on a Work Study Journey

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The National Bonsai Foundation is proud to partner with the U.S. National Arboretum in maintaining the National Bonsai & Penjing Museum. In addition to caring for these living masterpieces, we support the museum’s expert curators with ongoing education and professional development, ensuring they stay at the forefront of bonsai artistry. These opportunities allow them to refine their skills, explore the latest techniques, and continue growing as leaders in their field.

In this post, Andy Bello, Assistant Curator (and our 2019 National Bonsai Apprentice), shares insights from a recent experience that helped shape his approach to bonsai care and curation.

Last winter, I had the wonderful opportunity to spend two weeks in Portland, Oregon, traveling to work and learn with a focus on fall and winter seasonal bonsai techniques. Part of my time was spent at Crataegus Bonsai, owned by bonsai professional Michael Hagedorn. Michael is a well-respected bonsai artist and teacher who apprenticed with Shinji Suzuki in Obuse, Japan from 2003-2006. He serves as the Bonsai Consultant for the Portland Japanese Garden, teaches international students at his garden, and blogs weekly at crataegus.com.

I remember my first time seeing a specific bonsai in person at the Portland Japanese Garden in 2017, my first year practicing the art. Walking to the upper bonsai courtyard, I was greeted by a large mountain hemlock planting growing on a slab. It was so large, in fact, that it was displayed on a small wooden stand on the ground, and the tallest tree stood about six feet tall. This composition was the first of this size and refinement I had seen. Its long, elegant trunks reached up and out towards the sky, with lush green foliage artfully arranged to give windows into the interior of the composition, telling the tree's story. This piece changed everything for me—it solidified my love for bonsai and encouraged me to pursue the art form as more than just a hobby.

Six years later, as the assistant curator at The National Bonsai and Penjing Museum, I found myself standing in Michael’s garden on a work trip, pruning my favorite tree. It felt as if my life in bonsai had come full circle. For the time I worked on that tree, I was in pure bliss, and I will never forget that wonderful feeling. But as anyone who practices bonsai knows, there is always more to be done and more trees to work on and care for.

During my time at Crataegus Bonsai, I studied some of the fascinating compositions Michael has created over the years. Some of the ones that stood out to me were planted at inclined angles or mounted on the side of walls, combining traditional Japanese bonsai with modern, innovative ideas. His garden left a lasting impression on me—it showed that we need not be limited by the container or a particular style we are accustomed to following. There is endless opportunity, and ample room to be playful and enjoy the creative process.

The second half of my time in Portland was spent at Rakuyo Bonsai, owned and operated by Andrew Robson. Andrew is an award-winning deciduous artist in the American bonsai community. He completed a three-year apprenticeship with Michael Hagedorn after graduating from Yale University. Andrew also studied shohin bonsai display with Daisaku Nomoto, an award-winning Japanese shohin master and judge at Gafu-ten. He serves as the President of the Bonsai Society of Portland, the largest bonsai club in the United States, and regularly exhibits work at the Portland Japanese Garden, where he also lectures at the Japanese Arts Learning Center. Andrew hosts the Bonsai Wire Podcast and regularly creates new episodes with other prominent figures in the bonsai community. He resides at his deciduous garden, Rakuyo-en, with his golden retriever Bailey, where he teaches and shares the art of deciduous bonsai.

The main reason I wanted to work with Andrew was his focus on deciduous bonsai and the quality and size of the specimens in his garden. At The National Bonsai and Penjing Museum, I’ve become accustomed to working on larger trees, so I felt right at home at Rakuyo with its variety of well-cared-for material. From trees in the early stages of development to award-winning specimens in refinement, there was something interesting to view, study, and learn from throughout the garden. Inside, sheltered from the cool, constant rain of the Pacific Northwest, we focused on fall and winter cleanup, caring for deadwood, pruning, and styling. We also enjoyed engaging conversations about techniques, the art form, and its future—always with Bailey, the bonsai dog, close by.

Most of the work we completed was wiring and pruning for shape and structure on a variety of species such as Stewartia, hornbeam, beech, and maples. Late fall and winter are ideal times to do this type of work, as the leaves have fully changed color and fallen, making it much easier to see and apply wire to the branches. After wiring, we placed the trees in front of a clean backdrop to photograph, discuss, and adjust the branch positions.

Working at Rakuyo with Andrew was educational, inspirational, and pure fun. His focus and dedication to teaching, growing, and learning more about deciduous bonsai inspires me to continue cultivating more varieties of trees and expanding my techniques.

I am very grateful and honored to have spent time working with both Michael and Andrew, and I look forward to working on trees with them again in the future. Thank you to The National Bonsai Foundation for supporting my continued education in this timeless art.