Complete Bonsai Styles and Sizes: A Practical Guide to Choosing the Right Form and Scale

When I started paying closer attention to bonsai, I quickly realized that bonsai styles and sizes are much more than labels used in exhibitions. The style of a bonsai tells a story about how the tree appears to have survived in nature, while its size determines how I work with it, where I can display it, and how much time and effort I need to maintain it.

If you are building a bonsai collection, learning the different bonsai styles and sizes is one of the best places to start. It helps you look at raw material differently. Instead of simply asking, “Is this a beautiful tree?”, I find myself asking, “What is this tree already trying to become?”

In this guide, I will cover the major bonsai styles, common variations, Japanese terminology, and the different bonsai size classifications. I will also explain how I personally look at a tree before deciding what style or size makes the most sense.

What Are Bonsai Styles and Sizes?

Bonsai style refers primarily to the visual form of a tree—its trunk movement, branching structure, direction of growth, number of trunks, roots, and relationship with the pot or rock.

Bonsai size, on the other hand, describes the physical scale of the finished tree. There is no single worldwide measurement system that every bonsai organization follows, so you will encounter different classifications depending on the country, club, exhibition, or source.

For example, the Japan Bonsai Association’s English-language guide broadly places bonsai under three size groups: Shohin below 20 cm, Chuhin from 20–50 cm, and Omono above 50 cm. It also notes that trees below 10 cm may be called mini bonsai.

That is important because bonsai sizes are not always as rigid as people assume.

A tree that one grower calls “medium” may be classified differently by another exhibition system.

Why Bonsai Style Matters

I don’t believe a bonsai should be forced into a style simply because the style looks attractive in a photograph.

When I examine a tree, I first look at what I already have:

• The trunk’s movement
• Trunk thickness and taper
• Nebari or surface roots
• Existing branches
• Natural scars and deadwood
• The species’ growth habit
• The tree’s response to previous pruning
• Where the strongest branches are located
• The overall character of the material

Only after looking at these things do I think about the final design.

This is especially important with collected material or yamadori. A trunk that naturally bends, twists, or leans may become a beautiful informal upright, slanting, windswept, or literati bonsai. Trying to straighten it into a formal upright can destroy the very character that made the tree interesting in the first place.

Bonsai styles are therefore better understood as design frameworks rather than strict rules. A single tree can also combine characteristics from several styles.

The Main Bonsai Styles

There are many named bonsai forms, but the following are the styles I consider most useful to understand when studying bonsai.

1. Formal Upright Bonsai — Chokkan

The formal upright style, or Chokkan, is probably the first bonsai style most people recognize.

The trunk rises vertically from the soil and gradually tapers toward the apex. Ideally, the trunk should have good movement and taper without unnecessary bends, while the branches become progressively smaller as they approach the top.

The apex should generally be positioned above the base of the trunk.

A mature formal upright often gives me the impression of a tree that grew in an open environment where it did not have to fight particularly hard for light or space.

Characteristics of Chokkan

• Straight, upright trunk
• Noticeable taper
• Strong nebari
• Branches become progressively smaller toward the apex
• Balanced distribution of branches
• Apex positioned over the trunk base
• Usually a triangular overall silhouette

Formal upright is particularly effective with species that naturally develop strong trunks and organized branching.

I find this style particularly useful when the raw material already has a strong, relatively straight trunk. There is no reason to fight the tree if it is already giving you the structure you need.

2. Informal Upright Bonsai — Moyogi

The informal upright, known as Moyogi, is one of the most versatile bonsai styles.

Unlike Chokkan, the trunk curves as it rises. The curves can be gentle and elegant or considerably more dramatic, but the apex generally remains over the area where the trunk enters the soil.

This is probably one of the styles I encounter most often because many trees naturally develop some form of movement.

Characteristics of Moyogi

• Curved or sinuous trunk
• Good taper from base to apex
• Apex generally positioned over the base
• Alternating branch structure
• Asymmetrical appearance
• Natural-looking movement

I particularly like informal upright bonsai because they can look old without appearing artificially constructed.

A good Moyogi does not need every curve to be perfectly symmetrical. In fact, too much uniformity can make the tree look manufactured.

3. Slanting Bonsai — Shakan

The slanting style, or Shakan, gives the impression that the tree has been pushed to one side.

The trunk emerges from the soil at an angle, and the apex is positioned to one side of the root base rather than directly above it.

I often imagine a tree growing on a mountainside, beside a larger tree, or in a location where it had to lean toward available sunlight.

Characteristics of Shakan

• Trunk leans strongly to one side
• Apex extends beyond the center of the root base
• Strong surface roots help visually anchor the tree
• Branches counterbalance the direction of the trunk
• Creates a strong feeling of movement

One of the biggest challenges with a slanting bonsai is visual balance.

If the tree leans heavily to the left, for example, the composition should not make it look as though the tree is simply going to fall out of the pot.

The nebari becomes especially important here.

4. Semi-Cascade Bonsai — Han-Kengai

The semi-cascade, or Han-Kengai, is a downward-growing form.

The trunk initially rises but then moves horizontally or downward. Unlike a full cascade, the lowest portion of the tree does not normally extend below the bottom of the pot.

This style reminds me of trees growing along cliffs, riverbanks, rocky slopes, or the edges of mountains.

Characteristics of Han-Kengai

• Trunk moves downward
• Apex usually remains around or above the lower portion of the pot
• Requires careful balance between the upper and lower sections
• Often displayed in deeper containers
• Creates strong directional movement

Semi-cascade can be particularly attractive when the tree already has naturally drooping branches.

5. Cascade Bonsai — Kengai

The cascade, or Kengai, takes the downward movement much further.

The trunk bends over the edge of the container and continues downward, with the apex extending below the base of the pot.

The style is inspired by trees that grow over cliffs or steep rocky terrain.

Characteristics of Kengai

• Strong downward trunk movement
• Apex extends below the base of the container
• Requires a deep or appropriately proportioned pot
• Strong visual emphasis on vertical movement
• Often benefits from dramatic trunk movement

When I look at cascade bonsai, I don’t think of them as simply “upside-down” trees. The composition needs to make sense from the roots through the trunk and into the descending branches.

6. Broom Style Bonsai — Hokidachi

The broom style, or Hokidachi, is particularly associated with deciduous trees that produce fine branching.

The trunk rises vertically and then divides into many branches that spread outward, creating a rounded crown resembling a traditional broom.

Characteristics of Hokidachi

• Straight trunk
• Branching begins at a relatively consistent point
• Fine branches spread outward
• Rounded or dome-shaped crown
• Particularly attractive when deciduous trees lose their leaves

One reason I like this style is that the tree can become interesting even during the leafless season. When the leaves disappear, the branching structure becomes the main attraction.

7. Literati Bonsai — Bunjingi

The literati, or Bunjingi, is one of the most artistic and minimalist bonsai styles.

Instead of emphasizing a thick trunk and dense branching, literati focuses heavily on the line and movement of the trunk.

The trunk is often long, slender, and interestingly shaped, while the foliage is concentrated toward the upper portion.

Characteristics of Bunjingi

• Long, slender trunk
• Minimal branching
• Sparse foliage
• Strong emphasis on trunk movement
• Often considerable negative space
• Elegant and understated appearance

This is a style where “less” can genuinely become more.

A literati tree does not need a huge canopy to be impressive. Sometimes a single beautifully positioned branch can contribute more to the composition than ten unnecessary branches.

8. Windswept Bonsai — Fukinagashi

The windswept style, or Fukinagashi, portrays a tree subjected to persistent wind from one direction.

The trunk, branches, and foliage appear to have adapted to the same environmental pressure.

Characteristics of Fukinagashi

• Strong directional movement
• Branches predominantly extend toward one side
• Foliage may be reduced on the windward side
• Trunk may lean or curve
• Can incorporate deadwood
• Creates a dramatic survival story

One thing I would emphasize here is that simply wiring every branch to one side does not automatically create convincing windswept bonsai.

The entire tree has to tell the same story.

9. Twin-Trunk Bonsai — Sokan

The twin-trunk, or Sokan, consists of two trunks growing from a common root system.

Usually, one trunk is dominant while the other is smaller.

The two trunks should complement each other rather than compete equally for attention.

Characteristics of Sokan

• Two trunks
• Shared root system
• One dominant trunk is usually larger
• Secondary trunk supports the composition
• Trunks should have convincing spacing and movement

Twin-trunk bonsai can be very attractive when the two trunks look as though they naturally developed together.

10. Multi-Trunk or Clump Style — Kabudachi

The multi-trunk or clump style uses three or more trunks emerging from the same root system.

Instead of looking like several independent trees planted together, the trunks should appear to belong to one organism.

Characteristics

• Three or more trunks
• Common root system
• One dominant trunk is usually desirable
• Smaller trunks provide supporting structure
• Creates the impression of a mature clump

This can be especially useful for species that naturally produce multiple shoots from the base.

11. Forest Style Bonsai — Yose-ue

A forest planting, or Yose-ue, uses several individual trees planted together to create the appearance of a miniature woodland.

This is different from a multi-trunk bonsai because the individual trees are separate plants rather than multiple trunks from one root system.

A forest composition normally benefits from trees of different heights and trunk thicknesses. The arrangement should look natural rather than like rows of identical trees.

The Matthaei Botanical Gardens describes forest bonsai as compositions using multiple individual trees to create a woodland scene.

My approach to forest planting

I would rather have fewer trees with believable spacing than cram too many trees into a shallow pot.

The goal is not to show every tree equally. The planting should have a main tree, supporting trees, depth, and negative space.

12. Raft Style Bonsai — Ikadabuki

The raft style, or Ikadabuki, represents a tree that has fallen horizontally but whose branches continued growing upward as new trunks.

What appears to be several trees is actually one plant.

Characteristics

• Horizontal trunk or trunk-like base
• Several vertical branches become new trunks
• Creates the appearance of a small grove
• Inspired by fallen trees surviving through new vertical growth

The raft style is particularly interesting because the artist is essentially reproducing a survival strategy found in nature.

13. Root-Over-Rock Bonsai — Sekijoju

The root-over-rock style, or Sekijoju, features roots growing over the surface of a rock before reaching the soil below.

The rock becomes a major part of the composition rather than simply decoration.

Characteristics

• Roots visibly grip the rock
• Roots eventually reach the soil
• Rock is an important compositional element
• Tree and rock should look naturally connected
• Often creates a dramatic feeling of survival

This is one of the styles I find especially interesting for tropical species because vigorous roots can create dramatic visual effects over time.

The challenge is patience. The roots need time to thicken and develop enough character to look as though they genuinely belong on the rock.

14. Rock-Grown Bonsai — Ishitsuki

Ishitsuki is related to root-over-rock but is not exactly the same.

In an Ishitsuki composition, the tree’s roots grow within cavities, cracks, or pockets in the rock. The rock can effectively function as the growing environment.

This creates a different visual effect from Sekijoju.

In Sekijoju, I want to see roots wrapping around the rock. In Ishitsuki, I want the tree to look as though it has established itself directly inside the rock.

15. Exposed-Root Style

The exposed-root form emphasizes large roots that become a major part of the trunk’s visual structure.

It can suggest a tree growing in an environment where erosion has exposed the roots.

This style is particularly effective when the roots themselves have interesting movement and taper.

The Matthaei Botanical Gardens identifies exposed-root bonsai as a variation often associated with informal upright trees, with major roots intentionally exposed as part of the design.

16. Deadwood and Driftwood Forms

Deadwood techniques can also become a dominant part of a bonsai’s appearance.

Terms such as jin and shari are often used when describing deadwood features, although these are techniques or features rather than simply another trunk orientation like Chokkan or Shakan.

A tree with dramatic deadwood may still fundamentally be an informal upright, slanting, cascade, or another style.

This distinction is important because bonsai terminology can become confusing when every visible characteristic is treated as a separate “style.”

Complete Bonsai Size Classifications

Now we come to the other half of the subject: bonsai sizes.

Size classifications can be confusing because different bonsai communities use different terminology and measurements.

For that reason, I prefer to treat the following as practical categories rather than absolute international rules.

1. Keishi Bonsai

Keishi is generally used for extremely small bonsai or miniature trees.

These trees can be tiny enough to fit comfortably in the palm of your hand.

The smaller the bonsai becomes, the more challenging watering, pruning, wiring, and seasonal management can become.

A tiny tree may look easy to maintain, but I have found that small containers can dry out surprisingly quickly.

2. Shito Bonsai

Shito is commonly used for very small bonsai.

These are miniature trees that can be handled easily with one hand or even with a few fingers, depending on the classification system being used.

Because terminology varies between organizations, I would not rely on the name alone when comparing trees. The actual dimensions are more useful.

3. Mame Bonsai

Mame means “bean” and is commonly associated with very small bonsai.

These trees are prized because they compress the visual characteristics of a mature tree into an extremely small space.

Mame bonsai can be surprisingly difficult to maintain. The small amount of soil means moisture levels can change quickly, and there is very little room for error when pruning or wiring.

4. Shohin Bonsai

Shohin is one of the most widely recognized small bonsai categories.

The Japan Bonsai Association’s English guide places Shohin at less than 20 cm in height, while noting that trees below 10 cm may also be called mini bonsai.

Shohin is an interesting size because it remains small enough to handle relatively easily while still providing enough visual space for trunk development and branching.

For someone with limited space, this can be a very practical size category.

5. Chuhin Bonsai

Chuhin generally refers to medium-sized bonsai.

The Japan Bonsai Association’s classification places Chuhin at approximately 20–50 cm in height.

This is a size I particularly appreciate because it gives the artist more room to develop substantial trunks and branches without requiring the physical space or effort of a very large bonsai.

For many home growers, this can be an excellent compromise between visual impact and manageability.

6. Omono Bonsai

Omono refers to large bonsai.

The Japan Bonsai Association describes Omono as trees over 50 cm tall.

Once a bonsai reaches this scale, the practical demands increase considerably.

Moving the tree, repotting it, protecting it from extreme weather, and finding a suitable display area can all become more complicated.

In my own garden planning, large bonsai require much more thought about placement because they are no longer objects I can casually move around whenever I want.

7. Imperial Bonsai

You will also hear the term Imperial bonsai used for exceptionally large specimens.

Imperial is generally treated as a descriptive exhibition or enthusiast classification rather than a universally standardized measurement category.

Some growers use the term for very large bonsai that require multiple people to move.

This is one reason I prefer describing a tree’s actual height and overall dimensions alongside the size name.

Bonsai Sizes at a Glance

Here is the simplified classification I use as a practical reference:

The important point is that these categories are not universally standardized measurements. The terminology can change between organizations, countries, and exhibition systems.

Does Bonsai Style Determine Bonsai Size?

No.

A common misconception is that certain styles must always be associated with certain sizes.

They don’t.

You can have a tiny informal upright. You can have a large informal upright. You can have a small cascade, a medium cascade, or a very large cascade.

The same principle applies to slanting, windswept, literati, broom, forest, root-over-rock, and many other forms.

Style describes form. Size describes scale.

That distinction makes it much easier for me to organize a bonsai collection.

How I Choose a Style for a Bonsai

When I work with bonsai material, I try not to start with a style name.

I start with the tree.

Step 1: Examine the Trunk

The trunk is usually the first thing I study.

I look for:

• Movement
• Taper
• Thickness
• Bark character
• Scars
• Natural bends
• Deadwood
• Trunk lines
• Possible front views

A straight trunk with excellent taper immediately makes me consider formal upright.

A curved trunk may suggest informal upright.

A naturally leaning trunk may be better suited to Shakan.

A long, thin trunk with sparse branching might become literati.

Step 2: Study the Nebari

The surface roots can completely change my preferred front and style.

A tree may look average from one side but spectacular from another because of its nebari.

For slanting bonsai, strong roots are especially important because they visually anchor the tree.

Step 3: Look at Existing Branches

I don’t automatically remove every branch that does not fit my initial idea.

Sometimes a branch that looks inconvenient at first becomes the key to the final design.

This is particularly true with collected trees. The existing structure can contain years—or decades—of natural history.

Step 4: Find the Best Front

The best front is not necessarily the side with the thickest trunk.

I look for a combination of:

• Nebari
• Trunk movement
• Taper
• Branch placement
• Deadwood
• Depth
• Visual balance

Only after finding the front do I start thinking seriously about the final style.

Step 5: Decide What the Tree Wants to Become

This is probably the most important part.

Instead of asking:

“How can I make this tree look like a formal upright?”

I prefer asking:

“What design does this tree already suggest?”

That small change in thinking can save years of unnecessary work.

Choosing Bonsai Sizes for a Home Garden

For a home collection, I would not automatically choose the largest bonsai I can afford.

Large trees are impressive, but they also require:

• More space
• Larger containers
• More water
• More physical effort
• More storage and display planning
• More difficult repotting
• More careful transportation

Small bonsai have the opposite advantage.

I can keep several trees in a relatively small space, but they require careful watering because the limited soil volume can dry quickly.

Medium-sized bonsai offer a useful middle ground.

For many home growers, Shohin and Chuhin can provide a very practical balance between manageability and visual impact.

Bonsai Styles and Sizes in the Philippine Climate

Growing bonsai in the Philippines gives me a slightly different perspective from someone working in Japan or another temperate climate.

Our tropical conditions mean that many trees can grow vigorously for much of the year. Species such as ficus, bantigue, premna, portulacaria, and other tropical or subtropical plants can respond very differently from temperate bonsai species.

That means I cannot simply copy a Japanese maintenance schedule and assume it will work perfectly in my garden.

The climate affects:

• Watering frequency
• Fertilization
• Root growth
• Pruning response
• Repotting timing
• Pest pressure
• Sun exposure
• Recovery after major work

This is one reason I think local experience matters so much in bonsai.

A style may be universal as an artistic concept, but maintaining the tree is always connected to species and environment.

Which Bonsai Style Is Best for Beginners?

If you are just starting, I would not worry about mastering every style immediately.

I would begin by learning these five:

1. Formal Upright — Chokkan
2. Informal Upright — Moyogi
3. Slanting — Shakan
4. Semi-Cascade — Han-Kengai
5. Cascade — Kengai

These provide a strong foundation for understanding trunk orientation and movement.

After that, I would study:

• Broom
• Literati
• Windswept
• Twin trunk
• Multi-trunk
• Forest
• Raft
• Root-over-rock
• Rock planting
• Exposed-root forms

The commonly taught foundational group is also reflected by bonsai educational resources that identify formal upright, informal upright, slanting, cascade, and semi-cascade as the five basic styles.

Common Mistakes When Choosing Bonsai Styles

Forcing Every Tree Into the Same Style

One of the easiest mistakes is deciding that every tree should become Moyogi because you like curved trunks.

I have learned that a tree’s existing character is usually a better starting point than my preferred style.

Ignoring Taper

A beautiful branch structure cannot completely compensate for a trunk that has poor taper.

When selecting material, I pay close attention to how the trunk transitions from thick to thin.

Making the Tree Too Symmetrical

Nature rarely produces perfect symmetry.

If every branch is the same length and every curve is perfectly predictable, the tree can lose its natural character.

Choosing Style Before Front

The front of the bonsai can completely change the design.

I prefer to establish the viewing angle first and then decide how the tree should be developed.

Confusing Style With Technique

Jin, shari, wiring, grafting, pruning, and carving are techniques.

Chokkan, Moyogi, Shakan, Kengai, Bunjingi, and Yose-ue describe forms or compositions.

Keeping those concepts separate makes bonsai terminology much easier to understand.

My Practical Way of Categorizing Bonsai

As my own bonsai collection grows, I find it useful to record more than just the species.

For each tree, I would ideally document:

• Tree code
• Species
• Common name
• Origin
• Acquisition date
• Current height
• Trunk diameter
• Nebari development
• Current style
• Possible future style
• Pot dimensions
• Last repotting
• Last major pruning
• Last wiring
• Fertilizer schedule
• Important observations
• Progress photographs

This becomes particularly valuable when you have many trees.

A bonsai can change dramatically over several years, and photographs make it much easier to see progress that may be difficult to notice from day to day.

A Bonsai Can Change Styles

One thing I want beginners to understand is that a bonsai’s style does not necessarily have to remain fixed forever.

A young tree might begin as an informal upright and eventually develop into something closer to literati.

A tree initially trained as a slanting style may later be redesigned.

A collected tree might reveal a completely different front after several years of growth.

This is especially true when working with material that is still developing.

Bonsai is not a process where I make one decision and then never change it.

It is an ongoing conversation between the tree and the person growing it.

Final Thoughts on Bonsai Styles and Sizes

Learning bonsai styles and sizes gives us a useful vocabulary for understanding the art, but I don’t think the vocabulary should become a limitation.

The most beautiful bonsai are not necessarily the ones that follow every textbook rule perfectly.

For me, the most interesting trees are those that look as though they have a believable history. A bent trunk should feel as though something caused it to bend. A windswept tree should look as though the wind affected its entire structure. A root-over-rock tree should make me believe that the roots have been struggling against the landscape for years.

The same applies to size.

A tiny Mame or Shohin can have enormous character, while a large Omono can create an entirely different sense of age and presence.

When I look at my own bonsai, I try to remember that I am not simply making small trees. I am trying to preserve and develop the story that each tree is already telling.

And that, to me, is what makes understanding bonsai styles and sizes so useful: the classifications give us a language, but the tree itself tells us what to say.

Quick Reference: Bonsai Styles and Sizes

Major Bonsai Styles

• Formal Upright — Chokkan
• Informal Upright — Moyogi
• Slanting — Shakan
• Semi-Cascade — Han-Kengai
• Cascade — Kengai
• Broom — Hokidachi
• Literati — Bunjingi
• Windswept — Fukinagashi
• Twin Trunk — Sokan
• Multi-Trunk — Kabudachi
• Forest — Yose-ue
• Raft — Ikadabuki
• Root-Over-Rock — Sekijoju
• Rock-Grown — Ishitsuki
• Exposed Root
• Deadwood-focused forms

Common Bonsai Sizes

• Keishi — miniature
• Shito — very small
• Mame — very small
• Shohin — under approximately 20 cm in the Japan Bonsai Association’s classification
• Chuhin — approximately 20–50 cm
• Omono — over 50 cm
• Imperial — very large, with terminology varying between organizations

For additional reference on bonsai size terminology, I recommend the Japan Bonsai Association’s guide to bonsai sizes and forms.

For a useful visual explanation of the major styles, the Matthaei Botanical Gardens’ bonsai styles guide is also worth reading.

Another useful reference for the traditional basic styles is the Badger Bonsai Society’s overview of common bonsai styles.