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The word Bonsai is made up of 2 characters, which mean "tree in a pot," so the importance of the pot in this art is (almost!) equal to that of the plant.
Just as, for horticultural and aesthetic reasons, not all trees and shrubs can be used in Bonsai, not just any pot is suitable for Bonsai.
Aesthetically, "the pot is to the Bonsai as the frame is to a painting"; it should enhance the beauty of the plant without stealing its attention. Different Bonsai styles require different types of pots; colors are also selected considering the species and style of the plant, either contrasting with or complementing it.
Horticulturally, the Bonsai pot must have certain chemical and physical characteristics that allow the cultivation of a tree inside it for long periods. These goals are achieved through the use of high-quality stoneware and specific manufacturing processes.
Chemically, the pot must not react with the Bonsai; it should maintain an intimate relationship with it (which is why pots are never glazed inside), allowing nutrient retention and exchange without compromising their release and avoiding soil salinization.
Physically, Bonsai pots are very durable, needing to withstand wide temperature variations, protect the roots, and resist pressure exerted inside without deforming or breaking.
There are several classic Eastern origins of Bonsai pots, and today there are also high-quality Western pieces, some by renowned ceramists and highly valued.
Yixing, in China, is the quintessential region for ceramics production, from teapots for the tea ceremony to Bonsai pots and decorative pieces. This is due to soil characteristics that give the reddish clay (Zisha) a rich texture and a high-quality finish, even on unglazed models.
In Fujian province, Dehua ceramics stand out for using white clay, which gives the pots a clear and luminous base. Fully vitrified, they feature expressive glazes and are especially suitable for flowering, fruiting, or colorful foliage species, where the contrast highlights the plant.
In handcrafted pots, each piece may have slight differences in size, as well as natural marks from the manufacturing process, such as subtle firing cracks or color variations, giving it a unique character.
In Japan, there are several areas with distinct stoneware characteristics, firing, glazing, and design, with the city of Tokoname being the largest and best known, having several centuries of tradition.
The elegance of the lines of Japanese pots and the originality of their colors give them a very distinct personality, sometimes with more classic lines, other times more modern.
Both in China and Japan, it is common to find one or more stamps on the bottom of handcrafted pots, which serve as the ceramist’s signature. These stamps identify the author or production workshop and are important elements in valuing the pieces, especially for handmade pots.
With a style inspired by nature, Kurama pots are also produced in Japan (as well as in China and by many ceramists in the West), see more info in Kurama technical sheet.
There are other regions in the East that produce pots, such as Korea or Indonesia, which, although inspired by Japanese and Chinese lines, end up having their own personality.
For more tips on how to choose the pot, go to transplant technical sheet.