The Father of American Bonsai
Early Life and Roots in California
John Yoshio Naka was born in Fort Lupton, Colorado, in 1914. Though he spent much of his early childhood in the United States, his formative years unfolded in Japan after his parents moved the family back to their homeland. It was there, immersed in traditional Japanese culture, that he first encountered the centuries-old practice of bonsai. For a boy raised among the wide-open spaces of Colorado, the contrast between expansive landscapes and the intimate world of potted trees left a lasting impression.
His years in Japan provided him with not only a foundation in horticulture but also a cultural understanding of bonsai as an art form that expressed patience, restraint, and harmony. When he returned to the United States as a young man, he carried this dual heritage—American openness and Japanese refinement. It was this blending of cultures that would come to define his contributions and set him apart from his contemporaries.
Back in California, Naka began working with plants and trees, using the skills he had absorbed during his time abroad. What started as a personal exploration quickly evolved into a mission. He realized that bonsai in the United States was little understood, often treated as novelty rather than as art. Naka was determined to change that perception and to raise bonsai in America to the level of respect it held in Japan.
Building a Foundation for American Bonsai
In 1950, John Naka co-founded the California Bonsai Society, one of the first organized groups dedicated to the art in the United States. This was not a casual endeavor. At the time, bonsai was largely misunderstood by the general public, seen as nothing more than miniature houseplants or curiosities. Naka wanted to elevate bonsai beyond decoration. He envisioned it as an art form rooted in tradition yet capable of adapting to a new cultural landscape.
Through the society, he began teaching and mentoring enthusiasts across California. His approach was both demanding and encouraging. He insisted that bonsai was not something to be rushed, nor was it about tricks or shortcuts. It was a lifetime pursuit, one that required humility, discipline, and self-reflection. Students came to him expecting to learn how to shape trees. What they received instead was a broader philosophy about life, patience, and the relationship between people and nature.
The society became a launchpad for spreading bonsai across America. Meetings, workshops, and exhibitions soon followed, and Naka’s reputation grew steadily. What distinguished him was his ability to adapt Japanese principles to American conditions. He worked with native species, experimenting with junipers, pines, and other trees that thrived in the United States. In doing so, he proved that bonsai was not limited to imported material or Japanese contexts. It was an art that could take root anywhere.
A Teacher Above All
If John Naka is remembered as the father of American bonsai, it is not solely because of his trees. It is because of his teaching. His gift was his ability to translate an ancient Japanese practice into lessons that resonated with Western students. He understood that in America, where individual expression was prized, bonsai needed to be presented not as rigid tradition but as a living dialogue between artist and tree.
Naka traveled widely, teaching workshops and demonstrations across the country and eventually around the world. Students often recall his humor, his warmth, and his ability to connect deeply with each person. Yet he was also exacting, never hesitating to push someone to improve. His oft-quoted phrase, “Don’t make your tree look like a bonsai—make your bonsai look like a tree,” captured his philosophy. He rejected the idea of formulaic bonsai. Instead, he demanded authenticity.
This teaching style resonated because it combined authority with approachability. He was not distant or intimidating. Instead, he sat beside his students, guided their hands, and shared stories that made the lessons memorable. For Naka, bonsai was never about showing off skill. It was about cultivating character, both in the tree and in the practitioner.
Bonsai Techniques and Written Legacy
In 1973, Naka published Bonsai Techniques I, followed by Bonsai Techniques II in 1977. These books became the definitive texts for English-speaking practitioners. Until then, resources were scarce, and much of the knowledge was locked away in Japanese-language materials that were inaccessible to most Americans.
Naka’s books filled that gap. They were comprehensive, detailed, and, most importantly, approachable. He explained not just how to prune, wire, or repot, but why those steps mattered. His illustrations, often drawn by hand, brought clarity to concepts that were difficult to capture in words alone. The books became standard references, used by beginners and advanced practitioners alike, and they remain in circulation decades later.
The impact of these works cannot be overstated. They democratized bonsai, making it accessible to anyone willing to learn. They also cemented Naka’s role as a bridge between cultures—translating Japanese tradition into an American context without losing its essence.
Goshin and the Iconic Works
No discussion of John Naka is complete without mentioning Goshin. This forest planting of eleven junipers, created to represent his grandchildren, stands as his masterpiece. Each tree embodies a child, and together they form a grove that expresses both individuality and unity.
Goshin became more than a bonsai. It became a symbol of Naka’s philosophy and his deep connection to family and nature. The planting was eventually donated to the National Bonsai & Penjing Museum in Washington, D.C., where it remains one of the most celebrated trees in the world. Visitors from across the globe come to see it, not only for its artistry but for the story it carries.
Beyond Goshin, Naka produced countless other works, many of which have been preserved in collections or remembered through photographs and exhibitions. Yet he often downplayed his own creations, insisting that his real legacy lay in his students.
Spreading Bonsai Across the Globe
As his reputation grew, Naka’s influence spread far beyond California. He became a global ambassador for bonsai, traveling extensively to Europe, South America, and Asia. Wherever he went, he carried not only his expertise but also his belief that bonsai was a universal language.
In workshops abroad, he encouraged practitioners to embrace their local species rather than imitate Japanese traditions. He believed that bonsai should reflect the environment and culture in which it was created. This perspective freed bonsai from being seen as an exclusively Japanese art and helped it evolve into a global practice.
Naka’s work abroad also contributed to the establishment of international organizations, exhibitions, and exchanges. He was instrumental in creating networks that brought enthusiasts together, fostering a sense of shared community across continents.
Philosophy and Personality
At the core of John Naka’s teaching was a simple but profound philosophy: bonsai is about the person as much as it is about the tree. He often reminded students that the process of working on a tree was a mirror of their own character. Patience, discipline, humility, and care were required not only for the tree’s survival but for the practitioner’s growth.
One of his most famous sayings—“Bonsai is not the tree, bonsai is you”—captures this idea. To Naka, the tree was not an object to be manipulated but a partner in an ongoing relationship. Each cut, each bend, each decision revealed something about the person making it. The tree’s form was, in a sense, a reflection of the artist’s spirit.
This philosophy extended beyond bonsai. It was how Naka lived his life: generous with his time, thoughtful in his words, and deeply connected to those around him. Students often recall not only what he taught but how he made them feel—valued, encouraged, and part of something larger.
Recognition and Honors
Over his lifetime, John Naka received numerous awards and honors, both in the United States and internationally. He was recognized not just for his artistry but for his contributions to cultural exchange and education. His work with the National Bonsai Foundation and his donation of Goshin to the National Bonsai & Penjing Museum underscored his commitment to leaving a lasting legacy for future generations.
These honors, however, never seemed to define him. Naka remained humble, often shifting attention away from himself and back to his students or to the trees. He saw himself as a servant of the art, not its master.
Legacy Through Students
Perhaps the most enduring aspect of Naka’s legacy lies in the countless students he mentored. Many of today’s leading bonsai artists in America and abroad trace their lineage back to his teaching. His emphasis on authenticity, patience, and respect for nature continues to shape their work.
Through them, his philosophy spreads, not as rigid doctrine but as a living tradition. Each artist interprets his lessons in their own way, just as Naka encouraged. This ongoing evolution ensures that bonsai remains vibrant and relevant, adapting to new generations and new environments.
Conclusion: The Father of American Bonsai
John Naka’s life was more than a personal journey—it was the story of bonsai taking root in America. From his early days in Colorado and Japan to his role as a teacher, author, and ambassador, he transformed bonsai from a misunderstood curiosity into a respected art form across the United States and beyond.
He built institutions, wrote foundational texts, created iconic trees, and mentored a generation of artists. Yet perhaps his greatest contribution was his philosophy: that bonsai is not about technique alone, but about character, humility, and connection.
Today, when visitors stand before Goshin in Washington, D.C., they see not just a forest planting but the embodiment of Naka’s vision. It is a testament to family, to patience, and to the belief that bonsai can bridge cultures and generations.
John Naka will always be remembered as the father of American bonsai—not because he claimed the title, but because he lived it. His life’s work planted the seeds of a movement that continues to grow, shaping the art and the people who practice it for decades to come.
* Main image courtesy of The National Bonsai Foundation, CC BY-SA 3.0, via Wikimedia Commons
