Daily Archives: August 29, 2011

Review: Saikei and Art – Miniature Landscapes by Lew Buller

(A bit of context. This blog features regular reviews of books, horticultural products, and interesting related items, under this proviso. All items reviewed will be purchased by the reviewer in advance, at full retail price, in order to prevent any
conflict of interest. Information about upcoming releases is greatly appreciated, but receipt of advance copies or samples will be announced well in advance and will not influence the final review. The world has enough Jeff Craigs and Maria Salases as it is.)

Saikei and Art: Miniature Landscapes by Lew Buller. Lew Buller, 2005. 178 pp., $39.95 US. ISBN 0-9772443-0-X

The obvious appeal of bonsai lies with its ability to simulate, in a reasonable scale, the incredible variations in trees when stressed by the elements. Most bonsai practitioners work to include the area around the roots, but actual landscapes? For short-term arrangements, the traditional Japanese form of bonkei works well, but the concept of saikei, the art of arranging miniature landscapes for longterm enjoyment, was first displayed and taught by Toshio Kawamoto in 1963. Today, saikei may not be as universally known as bonsai, but in a time when miniature gardens are starting to gain popularity, this is probably going to change.

If the name of Lew Buller rings any bells, it’s probably for his involvement with co-writing Mountains in the Sea: The Vietnamese Miniature Landscape Art of Hon Non Bo, the only English book so far published on Hon Non Bo design and management. His followup book, Saikei and Art, is a compilation of various essays and articles written on the subject for magazines such as Bonsai Today and International Bonsai, combined with new material and followup photographs.

Because of its origins in magazine articles, Saikei and Art has a small problem with jumping around and repeating itself from time to time. This is sometimes aggravated by the unorthodox layout of some sections, where it’s difficult to ascertain where, on a new page, the text starts from the previous page. Some readers may also have issue with the fact that Buller’s landscapes are predominately influenced by his life in the San Diego area, and recreations of Southern California might not jibe with other saikei practitioners’ ideas of arrangements.

Ignore those worries. Any serious miniature gardener, whether formally trained in saikei or not, needs this book in his or her library. Instead following the lead of far too many general horticulture books, where the book goes step-by-tedious-step into allowing readers to make an exact replica of an artist’s project, Buller uses his projects to illustrate the tenets and requirements of saikei, and then encourages readers to go their own way. He dedicates an entire chapter to texture, both in the importance of variety and in continuing a particular theme. In addition, while he understands that each artist’s particular styles may encourage the use of artificial additions such as “mud men” figures, he emphasizes that the focus of a proper saikei depends upon the balance of the complete arrangement, not just on one or two elements. Add one slightly incongruous element, whether a particularly stunning rock or an intriguing figure, and all focus goes to that element instead of to the rest of the landscape. In a diorama, this is a success. In saikei, this is a sign of bad design.

Right now, I’m preparing several large miniature garden arrangements for an upcoming plant show. Before each big show, I gather a series of reference guides to get me into the right frame of mind before starting. I already have such titles as Sheperd Paine’s classic guide How To Build Dioramas and Buller and Lit Phan’s Mountains in the Sea in the pile, and Saikei and Art is going right on top.

Horticulture and publishing, Part 1

The bright side: this was the first birthday in five years where I wasn’t dealing with a photo shoot, a television interview, a newspaper interview, or a medical emergency. (Well, manufactured medical emergency.) The dark side: the aerogel that we laughingly call Dallas air is getting so thick that four months of allergy shots are probably the only reason I’m still alive. The air isn’t too thick to breathe. It’s too thin to plow.

Anyway, one of the benefits of spending a three-day weekend in allergy-induced hallucinations is gaining insane insights into the universe, and having lots of horticulture -related reading material by the bedside definitely helped. This was compounded by being functional enough by Sunday to get up and around, and I decided to test this by visiting one of the local Borders bookstores being liquidated. I’m still concentrating observations and impressions based on what the implosion of Borders entails for the publishing industry, especially the horticulture and gardening components, and they should be coherent enough to share by this week.

One absolute, though, based on multiple visits to multiple putrefying Borders stores over the last six months. When someone finally chronicles the exact whys and wherefores of why Borders went under, I suspect we’ll get a lot of answers to various surreal questions. “Why did so many employees assume that working for Borders was ‘working in the publishing business’?”, for instance, seeing as how you didn’t hear Steak & Ale frycooks insisting they had to stick with a dying company because they wanted to keep “working in the ranching business”. The biggest one I have, though, is what Borders ordering rep was responsible for the company’s incredible selection of marijuana growing guides. Each store’s selection was already famous, and the current liquidation just accents how many copies of The Cannabible must have been stockpiled in the back of each store for years. Was this selection the result of a lost bet, or was someone in the ordering staff in Ann Arbor really, really projecting on their career plans after they left Borders?