The basic intention when displaying bonsai should be to hold the viewer's attention while conveying an overall feeling of harmony. If more than one object is included in the display, i.e., a bonsai, table, accent plantings, figurines, stones, or hanging scroll, it is appropriate that the items bear relevance to one another, and that the artist uses them in a minimal way to convey an understanding of a particular time, place, or season in the natural landscape.
Whether the arrangement is on exhibition benching or in a specially designated display alcove (tokonoma), the artist must employ a measure of sensitivity in terms of spacing, size, and proportion between the elements to ensure that a well-balanced, harmonious living picture is achieved that delivers a positive message to the viewer.

 

The placement of such an arrangement must be carefully considered. At an exhibition, individual spaces are often defined by lengths of bundled bamboo on a bench at a convenient viewing height for standing spectators. A plain background is essential, and the designated space must then be perceived as a frame for the intended picture.

The use of tokonoma allows the artist to organize his or her display without distraction in a specially constructed alcove or niche. Neutral or earth colors are normally combined with natural timber in its construction. A small tokonoma of less than 3 feet (1 m) in width may be elevated to a convenient viewing height, while a larger space, up to 10 feet (31 m) in width, is often set lower for seated contemplation.

The Western preoccupation with clutter must be avoided at all costs when making an artistic arrangement. A simpler, minimal statement, using three or fewer objects, is preferred. In fact, some will argue that, if any one of the objects is removed and the story remains the same, that object was not essential in the first instance. In other words, bonsai with accent-planting, bonsai with scroll or bonsai with suiseki, or any combination of two to three of the aforementioned components, may be sufficient. The restricted number of elements will, it is hoped, stimulate the spectator at an intellectual level to unravel the relevance of the objects in terms of their association, in order to reveal the artist's intended picture.

To aid the artist in getting his or her message across, it would be wise to study some established guidelines. To be bound by hard-and-fast rules would be foolish, and may result in the restriction of uplifting artistic playfulness.

Look, listen, and learn from successful displays and arrangements and, of course, observe our greatest teacher, nature itself. When placed in a restricted setting, a bonsai with any added accessories will set up a degree of correspondence between those items. Here, relevance is paramount. If an appropriate association does not exist, a unified composition of beauty and harmony will not emerge. The opportunity for an exhilarating moment is then lost. It is not difficult, but it must be thought out and planned well. As with other tasks associated with the creation of bonsai, preparation proves invaluable.

Proportion and spacing between the items in the display deserves important consideration in order to retain a harmonious unity of oneness, yet creating the illusion of great depth and spaciousness. No one piece should dominate the arrangement, and the visual movements of the individual pieces should ultimately focus the viewer's attention to the center of a scalene triangle linking the visual centers of the bonsai, scroll, and accent components. These points of the triangle may also be seen as representing heaven at the top, man at the mid-point and the earth at the base.

Similarly, a rock planting as the main subject would not sit well alongside a suiseki as accent, or even a scroll painting that includes a mountain landscape, because of repeating themes. Links between component parts of the display must be made by subtle implication, and may often involve intellectual interpretation by the spectator to reveal the picture. Returning to the rock-planted bonsai, the accent could be alpine grass with a container that is totally unlike that of the centerpiece to imply the location of trees and rocks at altitude, or even a figurine of a bird or animal found in this environment. The scroll could be used to indicate the season by incorporating a flower, grass, an insect, the sun or moon, clouds, or mist, but, in any event, must not illustrate any other element repeated in the arrangement.

The sun and moon are excellent indicators of time and season. The Japanese often use the rising-sun theme for new life or a new beginning in a formal New Year display. The sun seen behind the clouds, or through the mist, may help with time of day, but avoid using a setting sun as this may imply the end of a period or death. A deep-orange or blood-red full moon (harvest moon, as we know it) may suggest late summer/fall.

It is natural to expect that endless variety and numerous combinations of display elements are possible. Therefore, the outline here is simplistic, but, I hope, will inspire the enthusiast to look further into the world of traditional bonsai display.