Pest of the month: Cuban Laurel Thrips

Some of my fig trees have a problem. Every new leaf they have gets red dots and curls-up (Fig. A). On close examination of the foliage I noticed small black insects (Fig. B), which tend to hide inside curled leaves. After examining these insects under the microscope they turned out to be Cuban Laurel Thrips Gynaikothrips ficorum (Fig. C, D). In Australia this species causes leaf roll on Ficus microcarpa and F. retusa, however when infestations get out of hand it can infect other figs such as F. benjamina and even Citrus species.

I control them by cutting off all the curled leaves, putting them in a plastic bag and placing the bag in the freezer for a couple of days, but this is only half of the job. Right after that, I spray the plants with a systemic insecticide. Insecticide spray doesn’t kill thrips hiding inside curled leaves and this is why they have to be removed and frozen.

This year's pots

I haven’t made many pots since my return from India last year, but I am slowly warming up to the idea. The green glaze stoneware round pot (250×65 mm) shown above was inspired by the traditional form of South Indian terracotta flower pots shown above as well. I made it for a bonsai friend in India.

Two pots in the photos below have white glazes on them, but not all turned white. The top pot in the image below is round (185×60 mm). Its white glaze produced interesting streaks of brown. The bottom pot is oval (280×215×45 mm). Its clay had such high iron oxide content that took all the whiteness out of the white glaze.

Saihate-no-oka by Saburo Kato

After my last year’s trip to Japan, I posted a blog entry titled “Forest planting by Saburo Kato?” (http://lomov.blogspot.com/2010/05/forest-planting-by-saburo-kato_7825.html). This forest setting was superb (see photo above), it was located in Mansei-en nursery in Omiya and I suggested that it was probably done by Saburo Kato. I wasn’t sure, but not anymore.

After reading Saburo Kato’s book ‘Forest, rock planting and Ezo Spruce bonsai’ I know that my guess was correct. In fact, the photo of this forest setting taken in 1988 is featuring on the book cover itself (see photo below). I also learned that the setting is much more special than I thought. This bonsai is one of Saburo Kato’s most well-known masterpieces called Saihate no oka (The Remotest Hill). All trees are Ezo Spruce (Piciea glehnii) collected by Saburo Kato 70 years ago from Kunashir Island, which is not a part of Japan anymore. The main trunk is about 250 years old! Saburo Kato worked on this forest for three years. When I saw the setting I thought it is on the rock slab, but the book says it’s on a custom made ceramic slab made in Tokoname. I must admit though, this setting looked better in 1988.

Plant choice for bonsai: Sentiment vs suitability

India is an ancient civilization and in the course of its long history many plants acquired deep cultural significance. Some of them are loved as food, some for their medicinal properties and some for their religious significance. In an individual this significance manifests as sentiments towards certain plants. To an Indian bonsai grower plant’s sentimental value often has a stronger appeal than its suitability for bonsai. A good outcome is possible only when sentiment and suitability coincide. Peepal Tree (Ficus religiosa) is a good example of that (top left picture). This tree is worshiped in temples, its seedlings grow on top of almost every builing in Chennai and it is a great tree for bonsai. In fact, bonsai trees which impressed me the most in Chennai were figs. Some of them are shown in photos above and below.

Bonsai soil for Chennai climate

The soil used for bonsai in Chennai is very different from what we use in Australia. It is a mixture of red clay, sand and cow manure. Some growers add broken low-fired red brick for better drainage. The sand used in the mix is rather small grain, like the one used for mixing concrete. While we in Australia make our soil mix for drainage, they in India make their soil for water retention. The climate in Chennai can be very hot and dry. Never the less, bonsai growers in Chennai complain that their trees grow too fast! Needless to say, clay and manure provide their plants with ample nutrients. High temperatures all year round don’t allow the soil to be saturated with water for too long, especially in a shallow container. I also think that native plants of Tamil Nadu are adapted to waterlogged soil during monsoon and very dry soil in summer. The soil is too sticky when wet and for repotting they use dry soil mix (see image below).

Bonsai containers in Chennai, India

It seems that in India there is only one ceramic artist who makes bonsai pots. His name is B.R. Pandit and his studio is at Bhayandar, Maharashtra. In the bonsai community his pots are referred to as ‘Pandit pots’. These pots demonstrate sound craftsmanship and mostly inspired by more ornate Chinese examples. Chinese aesthetics probably appeal to the artist and bonsai growers due to cultural proximity to China. Some examples of Pandit pots are shown in the image below.

Another type of containers I saw used for bonsai is Jaipur Blue Pottery (see pictures below). They are low-fired pots made of white clay and decorated predominantly with cobalt and copper oxides. If someone made them in stoneware and added feet, they would make a beautiful native style of bonsai pots.

Most commonly bonsai and bonsai material are grown in terracotta pots. They are hand-made, unglazed, low-fired flower pots, which sometimes come as shallow planters without feet. They are very unpretentious and sometimes slightly crooked. Old terracotta pots develop a patina of dirt and algae and can look quite wabi sabi (see image below).

Of course, I should mention that a lot of bonsai in Chennai are grown in containers imported from China. Chennai, however, doesn’t have a shop where you can buy them. Bonsai pots are ordered from Bombay or Kerala and buyers have to bear the cost of brakeage during transportation. Apparently, they are transported on the roofs of passenger buses and the brakeage is quite high. As a result of all this, bonsai growers in Chennai have a limited choice of containers.

A go at saikei

Yesterday was my last bonsai class for this year. The structure of the class was a surprise to all students. The class was divided into two teams and each team was given the same materials to create a saikei landscape. It was compulsory to use a ceramic mountain and nine small-leaved box plants and the rest was optional. The outcome of these efforts is shown below. Apparently, these two miniature landscapes will be auctioned later for charity.
   

Bonsai garden at Semmozhi Poonga park

Semmozhi Poonga is a paid entrance park in Chennai. It is run by the Tamil Nadu Directorate of Horticulture and Plantation Crops and it features a bonsai garden. Most of the trees are Ficus microcarpa imported from China. Among them there are trees in containers that are about five years old (see picture above) and trees planted in the ground which are about 40 years old (see picture below). The majority of the potted plants were in local unglazed terracotta containers without feet. I felt that this garden is that it’s bedraggled.

Bharani jars from Kerala

Dakshinachitra is an open air museum of traditional South Indian architecture. Traditional houses displayed there also feature traditional household items. In a traditional Hindu house from the South Indian state of Kerala I saw interesting earthenware jars. Unlike the unglazed Indian terracotta ware used for cooking, these jars were glazed earthenware (see the picture). Later, I learned that in Kerala these jars are called Cheena Bharani because they were originally made in China for transporting preserved foods. Bharani jars would regularly end up in Kerala through maritime trade, where they were used for preparation and storage of Indian style pickles. To me, these jars emanate what Japanese call wabi. It was interesting to see three different traditional glazes and a very unintentional partial glazing used on the leftmost jar.

Cholamandal Artists' Village

Yesterday, I visited Cholamandal Artists' Village. Fifteen years ago, I met some of the village’s artists and visited their studios through my work. This time, I am just a tourist visiting their art gallery. Some of the art displayed there was of outstanding quality. One artist’s work caught my eye because it had a striking resemblance to suiseki or bonkei. They were ink drawings by K. R. Harie produced in 2009 (see pictures above and below).

Mahabalipuram

Yesterday, visited the town of Mahabalipuram about 60 km from Chennai. It is a UNESCO World Heritage Site because of the monolithic monuments built in the 7-9th centuries. Stone carving has been a traditional craft in this area for two thousand years. This time, I spent some time observing the work of the stone carvers. Everything except the finishing touches with a pointed chisel (picture “A” above) is done by power tools. First they shape a block of granite for a particular sculpture, by making parallel cuts (picture “B” above) with a diamond blade on an angled grinder. After that all major carving is done by the angled grinders (marked 3 in the picture below) and each artist goes through one or two blades per day. All finer carving is done with diamond bids marked 1 and 2 in the picture below. The bid marked 2 lasts only for 2-3 days, while the bid marked 3 may last for up to two weeks.

 

Despite of the use of power tools each sculpture takes an amazingly long time to make. For example, picture “A” below shows a sculpture which has been worked on for one and a half months. And those people work long hours. Picture “B” below shows a stature that’s been worked on for at least three months and there is still a lot of finishing work to be done.