Oblique references to the Chinese side of dwarf potted tree history in English can be found in Staunton's 1797 account of Lord Macartney's embassy:  "To produce them formed a part of the [Chinese] gardner's [sic] skill, and was an art invented in that country."
        and in articles by John Livingstone (1820 - "Account of the Method of Dwarfing Trees and Shrubs, as practiced by the Chinese, including their Plan of Propagation from Branches," Transactions of the Horticultural Society of London, Vol. IV, pg. 225.  Read June 20, 1820; letter undated from Macao; published 1822):  "Of the origin of the practice no record seems to have been preserved.  It was probably very remote, since we see, on the oldest specimens of porcelain, the same figures of dwarf trees that the Chinese admire at the present day..."
        and F.A. McClure (1933 - "Methods and Materials of Chinese Table Plant Culture," Lingnan Science Journal (Canton: Lingnan University), Vol 12, Supplement, pg. 119.  Issued May 22, 1933):  "...art which has long since reached a very high state of development in the Orient, particularly in China where it no doubt originated, and in Japan where it has been in some instances rather highly modernized.  In the latter country various schools of the art have appeared since it was introduced from China by Buddhist missionaries in the sixth century..."

        The earliest rendering into a European language of the Chinese history in some detail was in Rolf A. Stein's 1943 book-length monograph "Jardins en miniature d'Extreme-Orient."  This still remains the most detailed investigation into the religion, cosmology, and magic of the region.  It was reprinted in an English translation (The World in Miniature, Stanford, CA: Stanford University Press, 1990, of a 1987 French revision) with two other articles further examining ties with the domestic and religious architecture of East Asia.  A truly monumental work.  (The original edition has not been reviewed yet to determine what early works it cited and which were first cited in the later edition.  Some later archaeological and other findings were definitely incorporated in the 1987 revision.)

        So far, the earliest known history of some length in English is H.L. Li's Chinese flower arrangement (Philadelphia, PA: Hedera House; 1956), an apparently little-known work which, despite the title, contains much about the culture of table plants/tray gardens (pp. 4-10+).

        [The earliest known convention presentation in the West, "The History of Bonsai in China," was made by Richard D. Darrah of Pittsburgh, PA in mid-July 1971 at the American Bonsai Society Symposium in Norfolk, VA.  He used a set of 30 slides with an accompanying narration which he had been given by Wu Yee-Sun.   (per "Chinese Bonsai" by Richard Donald Darrah, Journal, ABS, Vol. 5, No. 3, Fall 1971, pg. 56)]

        In 1987, Hu Yunhua's Chinese Penjing, Miniature Trees and Landscapes revealed many samples of the ancient poetry and literature which mentioned dwarf potted trees, as well as many regional style details (Portland, OR: Timber Press, ISBN 0-88192-083-5, pp. 128-130+).

        The earliest known reference in English to the Japanese part of the history of dwarf potted trees was apparently in the 1901 lecture by Toichi Tsumura given before the Japan Society of London (pp. 12-13).

        Shinobu Nozaki's 1940 work, Bonsai, provided the first detailed listing of plants used during the different periods of the artform's development in Japan in the 19th and 20th centuries. (Tokyo: Sanseido Company, Ltd., pp. 23-27).

        Soen Yanagisawa's Tray Landscapes (Bonkei and Bonseki), 1st edition 1955, gave the first detailed history of those related artforms (Tokyo: Japan Travel Bureau, LCC #62-19637, throughout).

        The 1970 Nippon Bonsai Taiken (Bonsai Masterpieces) (Tokyo: Seibundo Shinkosha Publishing Co., Ltd.; 1972.  Compiled by the Japan Bonsai Society, Inc.  First edition in Japanese April 29, 1970) included a 20 page "Brief History of Bonsai" by Asst. Prof. Ryoji Iwasa of Chiba University (pp. 330-349).  However, this went untranslated for the 1972 English companion booklet.  (Iwasa also wrote the history text Bonsai Bunka-shi (Tokyo: Yasaka Shobo; 1976).)

        In 1989, the Nippon Bonsai Association's Classic Bonsai of Japan volume had a chapter which provided a comprehensive look at the history of both the physical and metaphysical approaches to the art by Hideo Marushima (Tokyo and New York: Kodansha, ISBN 0870119338, pp. 140-156).  (Marushima in 1982 also published Nihon Bonsai Bonseki Shiko (An Interpretive History of Bonsai and Suiseki [sic]), as well as Chugoku bonkei ga Nihon bonsai ni ataeta rekishiteki eikyo ni kansuru jisshoteki kenkyu (Studies on the Historical Influences of Chinese Penjing on Japanese Bonsai) (Tokyo: Gihodo; 1998), neither of which has yet been translated into English.  See also below.)

        The first truly cosmopolitan view of the history can be found in Deborah R. Koreshoff's 1984 Bonsai: Its Art, Science, History and Philosophy (Brisbane: Boolarong Publications, ISBN 0-908175-75-2; also, Portland, OR: Timber Press, ISBN 0-88192-389-3, 1997, pp. 1-11+).

THE PRINCIPAL HISTORIANS

        The more recent bonsai historians include:

        Peter Aradi (b. 1937), grew up under Nazi and Communist-controlled Hungary, escaped in 1956 and spent several months in refugee camps before he "had the opportunity and privilege to immigrate to the U.S."  He worked for the Associated Press during the 1964 Tokyo Olympics.  He was later adjunct instructor of History and Humanities at several Tulsa, Oklahoma area colleges.  He has been researching the cultural history of bonsai.  He wrote at least nine articles for the American Bonsai Society's Journal since 1997, including a six-part series on "Visiting With the Masters," as well as an article in 2003 for International Bonsai about the 1964 Olympic Commemorative Bonsai Show. (See Oct 10 entry)  He is a retired information systems professional.  In the summer of 2006 he moved to San Antonio, TX.   SEE ALSO: Nov 4

Peter & Shigemi Aradi at the 02/2005 Kokufuten.
(Photo courtesy of Alan Walker, 05/11/07)

        Robert J. Baran (b. 1955), researcher for the Magical Miniature Landscapes project (various iterations of this web site since 1999).  He wrote four articles for the ABS Journal between 1991 and 1996 (reproduced on this website), the book Designing Dwarfs in the Desert (1997), and part of the chapter "The origins of bonsai" in Craig Coussins' The Bonsai School (2002) and parts of his 2011 history article for bonsaiempire were then included in their 2014 e-book, The Bonsai Beginners Guide, based on material from this web site.  He also created and authored the text for The Bonsai Coloring Book (2005).  His Bonsai CV is here.

Robert J. Baran, 2023.

        Peter Del Tredici, Curator of the Larz Anderson Collection of Japanese Dwarfed Trees at Harvard's Arnold Arboretum since 1984.  He had started there as apprentice to the curator in 1979.  He is also a Senior Research Scientist at the Arboretum and a Lecturer in Landscape Architecture at the Harvard Graduate School of Design.  His 1989 article "The Larz Anderson Bonsai Collection of the Arnold Arboretum" in the Arnoldia 49(3):2-37 was reissued that year as the book Early American Bonsai, The Larz Anderson Collection of the Arnold Arboretum.  Following his presentation of that story at the 2002 International Scholarly Symposium on Bonsai and Viewing Stones in Washington, D.C. and some additional research, a revised version was published in 2006 as "From Temple to Terrace, The Remarkable Journey of the Oldest Bonsai in America" in the Arnoldia 64(2-3):1-64.  In 1993, his article "Ginkgo Chichi: In nature, legend and cultivation" was published in International Bonsai 93(4):20.  Some other articles can be found here.  A non-bonsai segment of Peter discussing dwarf conifers can be seen in this 2005 episode of People, Places, and Plants (the 12:05 to 17:30 mark of this video).

Peter del Tredici, c.2010.
(Photo from http://gardenrant.com/2010/10/peter-del-tredici.html)

        Dr. Thomas S. Elias (b. 1942), Director of the U.S. National Arboretum in Washington, D.C. from 1993 through 2009, he played a key role in the development and oversight of the National Bonsai & Penjing Museum.  During his tenure as Director, the Museum underwent considerable expansion of its physical plant and extensive expansion of its living collections, library, and museum artifacts.  He was been instrumental in obtaining hundreds of rare and out-of-print books and serial publications, particularly from Japan, for the Museum's collections.  He has served since 2000 as the historian for Bonsai Clubs International's Bonsai Magazine, contributing nearly a dozen articles including the two-part series "Mansei-en and The Kato Family" (2001).   He serves as International Consultant to the World Bonsai Friendship Federation.  He has studied the plants of Asia and North America for many years and is the author of at least seven books and numerous papers on wild plants, trees, and threatened species in America.  A detailed history of bonsai which Dr. Tom presented at the 2002 International Symposium and then expanded for the 2005 WWBF Convention can be found here.  Dr. Tom retired at the end of 2009 and a detailed biography of him can be found here in the Winter 2009 Newsletter of the National Bonsai Foundation.  At the end of 2011, Dr. Tom and his wife, Dr. Hiromi Nakaoji, established the Viewing Stone Association of North America with the website, http://www.vsana.org/, which further presents and archives detailed information.  SEE ALSO: Dec 30