What was unique about Fely’s bonsai demonstration that day were her subjects – she used cacti and succulents, together with various ornamental grasses, to demonstrate the bonsai style known as kusamono, or the use of non-trees in the art of bonsai. In bonsai exhibitions, bonsai-enthusiasts often place kusamono bonsai next to their main bonsai so that the overall effect is balanced.
While I am an appreciator of bonsai, I am not a practitioner, nor a collector, and know very little about the subject. Luckily, there is always the handy Internet, and I was able to get the following information from various Internet sources like Bonsai Today; the Quad City Bonsai Club in Illinois; and Bonsai Chat, a fun community website for bonsai hobbyists.
The term "kusamono" refers to ornamental and artistic compositions of flowers and wild plants. Literally this would be "kusa," which means herb, and "mono," plant or thing. Traditionally in Japan, herbs were collected in the mountains and used for plants called kusamono. When these herbs were collected, often by chance wild flowers were collected at the same time. This accidental combination of herbs and flowering plants was so pleasing that it became the standard of kusamono.
Like bonsai, kusamono was adopted from the Chinese and is an art form that tries to replicate a relationship with nature, combined with the Japanese sense of aesthetics. The love of simple everyday things, ritualized ceremony and artful recreations of nature combined to produce the ultimate aesthetic observance. It was the tea ceremony that would solidify kusamono’s place in the Japanese arts.
When a kusamono is used as an accent plant or complement for a bonsai, it is called shitakusa. It can also be the main object of the display, presented with other accessories. Kusamono are artistic compositions of plants presented in a container or tray.
To create harmony with the whole aesthetic environment, it is suggested that one abide by the following five guiding principles: 1) Choose colors that blend well with the main object (the bonsai, painting, etc.); 2) include in the theme some reference to one of the four seasons; 3) use the kusamono to advance the overall theme of the main artwork; 4) observe and create kusamono in accordance to the size and shape of the main object; 5) ensure that some elements in the kusamono link smoothly to the elements in the principle artwork.
In addition to the above, it is a general rule of thumb that the total number of plant species in a kusamono does not surpass five. Three is ideal, as it assists in the symbolic relationships outlined below.
Kusamono are often displayed in an alcove called tokonoma with other objects. To contribute to the overall harmony of the tokonoma presentation they must symbolically represent the main object’s place of origin; harmonize with the color of the main object and with the central object in both shape and size; add a seasonal reference to and reinforce the presentation’s overall theme; and connect the other pieces of the presentation.
Within a multi-species kusamono, the grower should try to divide the plants into three distinct sections according to their size and character to symbolically depict the relationship between heaven, human and earth.
The shitakusa (kusamono displayed as an accent to another artwork) is representative of the earth element in this same triadic relationship of heaven, human and earth. "Shita" means bottom, base, or foundation.
As an aside, the triadic relationship mentioned above is paramount in the Shinto religion. Heaven represents the soul. Earth represents the conscience. And Human represents honor.
The plants used in a kusamono will vary. In Japan, mountain herbs were used at first. Now, varieties of flowering plants are used in combination with herbs, ferns, lichens, horsetail or mosses. And in this special display, Fely chose succulents for her subjects. Some arrangements employ only one plant species; while in others, several varieties are assembled. Containers all vary from ceramic to stone to pieces of dead wood.
Kusamono, like so many other aspects of Japanese art and aesthetic, is subtle and deceptively simple. Yet underneath lies a rich complexity and subtlety that makes it a pleasure to study and practice. As one great Japanese flower master said, "We should abandon passing dreams and instead stick to the beauty of modest things."
I must say we all had a wonderful Sunday afternoon at Fely Gupit’s place. We enjoyed her garden and her generous hospitality. But what’s more, we learned something about the wonderful art form that is kusamono. Thanks a lot Fely for that wonderful demonstration. I’m sure some of us will try our hand at kusamono one day soon. And thanks, too, to Danny Go, who took the great pictures that accompany this article today.