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Ikebana is the art of association of ideas and impressions of nature expressed
through flowers. In Ikebana the elegance of a branch conveys the change of the
seasons. A single flower symbolizes nature. Bamboo symbolizes integrity since it
doesn't bend. The Amur Adoni represents good luck. The evergreen pine suggests
the abode of a deity.
The original school of Ikebana is Ikenobo. Other schools have emerged since its
beginning over 500 years ago, yet Ikenobo, merging traditional styles with
creative interpretations is often called "the soul of Ikebana". In the 16th
century the "rikka" style using contrasting but complementary materials arranged
in a single vase to express the beauty of a natural landscape was developed.
This was followed by"shoka", a simple style in the 18th century that integrated
three main branches that form a unity to express life's perpetual change and
renewal. "Free style" is the most recent in Ikenobo's long tradition and uses
plant materials in new individualistic ways. "The Ikenobo school considers a
flower's bud the most beautiful, for within the bud is the energy of life's
opening toward the future" states Sen'ei Ikenobo, the 45th headmaster of Ikenobo
in Japan.
There are several styles of arranging flowers: Rikka, Shoka and Freestyle.
Rikka style originated in the 16th century. To construct rikka, arrange
seven or nine basic parts in a single vase to express the beauty of a natural
landscape.
Shoka style began in the 18th century and has two variations. Shoka
Shokutai integrates three main branches which form a unity expressing life's
perpetual change and renewal. Shoka Shinputai uses two main parts that respond
to each other with contrasting yet harmonious qualities. A third element adds a
finishing touch.
Freestyle has emerged recently. Freestyle uses materials in new ways
respecting the beauty and essential qualities of each material.
Rikka
Nageire
Moribana
1.
Characteristics
Ikebana,
the Japanese word for flower arrangement, is based upon certain principles of
art which are recognized the world over. The love of line so characteristic of
all Oriental art rather than the appreciation of form and color is perhaps the
most salient feature in differentiating Japanese flower arrangement from all
others.
The
arrangement is linear in composition, consisting of the most commonplace branch
material. However, if this branch material is arranged in a beautiful flowing
line, it is preferred to a group of blossoms, no matter how beautiful the latter
may be in color and form.
Equally
as strong as the emphasis on linear perfection is the teaching of naturalism, an
insistence on understanding the natural growth of the material used and a love
of nature in all her phases.
At its
inception thirteen centuries ago, Ikebana was designed to symbolize certain
Japanese philosophical concepts of Buddhism. However, with the progress of time,
the complete Japanization of flower arrangement and its adaptation to the
peculiar genius of the Japanese people, much of the religious connotation was
lost and the teaching of naturalism emphasized.
The
symbolism of the passage of time is of importance in Japanese flower arrangement
and is evident to the discerning eye. No arrangement would be acceptable if it
did not in some way suggest the time and season as well as the continuing growth
of the plant material used. For example:
Materials used
• The
past: full bloom blossoms, pods or dried leaves
• The
present: half open blossoms or perfect leaves
• The
future: buds, suggesting future growth
Type of
arrangement
• Spring:
vital arrangement with vigorous curves
• Summer:
full and spreading arrangement
• Autumn:
sparse and thin arrangement
• Winter:
dormant and somewhat dreary arrangement.
Closely
allied to symbolism in flower arrangement is the association of certain flower
forms with tradition, literature or custom. Every national holiday has its
prescribed arrangement and even the most familiar household celebrations are not
complete without their appropriate arrangement.
For the
joyous New Year celebration, pine and white chrysanthemums are usually used; at
the Doll Festival, peach blossoms; and for the Boys' Festival, an iris
arrangement is appropriate.
In
general any Japanese flower arrangement is composed of three triangular groups
of flowers or branches. An upright central group; an intermediate group, leaning
away from the upright structure; and an inverted triangle group, which leans
away from the central group on the opposite side of the intermediate group.
The
Japanese seldom make an arrangement of flowers without their own natural
foliage. Most arrangements consist of a few branches from a tree or bush as well
as small "grass flowers" which might naturally grown at the base of a tree.
Foreigners not accustomed to this type of floral design often fail to see its
natural beauty and wonder why the Japanese make use of such foliage for
decoration. The reason for utilizing materials other than flowers is that the
Japanese find more beauty in the forms and growth of nature than in their
colors.
The
flowers best liked are those growing naturally in the garden or countryside at
the time of arrangement. Full blown flowers or foliage are seldom used; tight
buds are preferred. The branches of trees producing large leaves or bushes with
an abundance of leaves are not used, except while the leaves are in bud.
The
reason for this practice is twofold: first, while a branch is still in bud, the
beauty of the line of the stem is unobscured; secondly, when the buds are used
the observers have the pleasure of seeing them open slowly. On the other hand,
when flowers are arranged at the point of perfection, they soon wither and
droop, thus expressing only death and dissolution.
This idea
of conveying continuing growth in life and of expressing vitality is paramount
in all Japanese art and should be the principal guide to the foreign student of
flower arrangement.
2.
Historical Development
A.
Classical Arrangement
In the
sixth century floral groupings heretofore unknown began to be seen on both sides
of the altars of Buddhist temples which rose all over Japan in subsequent
centuries. Rigid and voluminous, in order to be in harmony with the lofty temple
building, the "Rikka", meaning "standing up flowers", towered high above
their ornate bronze containers which were brought with other temple ornaments
from China. The tops of their branches as well as the flowers pointed heavenward
to indicate Faith.
Though
gradually becoming more supple and extending in width instead of in height, the
intricate Rikka arrangements continued to be the dominant form of arrangement in
temples and in palaces down to the establishment of the Kamakura government at
the end of the twelfth century.
The Rikka
arrangements originated from the concept that flowers should be arranged in such
a manner as to represent Shumisen, the sacred mountain of all Buddhist devotees,
symbolizing the universe. The Rikka arrangement was often called "a little
garden within a house" because, within the flower arrangement, the artist had
constructed a miniature landscape.
Plant
materials are used to represent different natural objects; rocks and stones are
symbolized by pine branches; the waters of the river and small streams by white
chrysanthemums; sunshine, shade and varying colors of the season are also all
expressed by means of well chosen plant settings in their proper places.
In the
Rikka arrangement, there is always a pine tree, five or six feet in height,
arranged in the center of the vase. The tree represents the beauty of the
Japanese landscape, since the pine is an indispensable element in sandy seashore
scenery or mountain views, especially in the mountain scenery of Kyoto. Next to
pine trees, the most important trees both for a garden and for the Rikka style
of arrangement are cedars, cypresses and bamboo.
The Rikka
design, however, has become old fashioned and is now regarded as an antiquated
form of floral art. Formerly a befitting decoration for ceremonial or festive
occasions, today it has lost its hold upon the people and is therefore rarely
followed.
B.
Naturalistic Arrangement
The most
significant changes in the development of flower arrangement took place during
the fifteenth century when the Ashikaga Shogun, Yoshimasa, ruled Japan
(1436-1490). The large buildings and the small houses which he built expressed
his love for simplicity. In the small houses were constructed the "Tokonoma," a
built-in alcove, intended as a shrine and containing objects of art as well as a
flower arrangement.
Along
with architectural simplifications, Yoshimasa, in collaboration with the artist
Somai, simplified the rules for flower arrangement so that all classes of people
could enjoy floral compositions of their own making. This new and simpler type
of arrangement was called "Seiwa."
Another
development took place during the Momoyama Period (late 16th Century) with the
creation of tea houses, where tea masters gave a more informal expression to
their floral composition. For this purpose, a freer style emerged and was called
"Nageire," meaning "throw in."
This
naturalistic arrangement known as Nageire is also made up of three triangular
groups in the same relative positions. Whereas in the classical style, the three
groups are clamped tightly into a holder and no part of the arrangement is
allowed to touch the container, this arrangement permits for much more freedom,
and the flowers are allowed to rest on the rim of the container.
Nageire
emphasizes naturalism, or the ability of the arranger to produce a composition
which suggests the natural growth of the flower material used. In this way, the
arranger is given an opportunity of expressing his concept of the art. According
to this style of floral arrangement, flowers should be arranged in a vase as
naturally as possible, no matter what the floral materials may be.
Some
innovations introduced with the new style of Nageire are firstly, that the stem
of each flower stands apart to show its natural growth; secondly, branches and
stems are allowed to cross one another, if the natural characteristics of the
flowers are enhanced; and thirdly, Nageire attaches great importance to
individual parts of the arrangement as well as to the entirety, by, for
instance, cutting leaves, branches or even flowers, if necessary to improve the
effect of the accomplished whole.
The
fundamental concept is always emphasized: beauty is to be found wherever there
is no artificiality. To find and express natural beauty in whatever is at hand
is the end and aim of Nageire, the simple and natural form of flower
arrangement.
C.
Moribana
Within
the past fifty years, a more recent development has taken place. This style is
known as "Moribana," which to some extent shows the influence of contact
with the Western world. Moribana, made in low flat containers, adds at least two
more triangular groups of flower material but retains the same relative
positions and proportions.
The stiff
artificiality of the formal type of arrangement such as Rikka (which is suitable
only for occasions of ceremony) as well as the naturalistic lines of Nageire
(used for the decoration of traditional Japanese style homes) were both found
unsatisfactory as decoration for the more unconventional European style houses
that made their appearance with the opening of Japan to the West in the latter
half of the nineteenth century.
Moribana
combines the formal, artificial Rikka and the naturalistic Nageire about
equally, and adds a third element-the suggestion of some landscape and natural
scenery in order to convey this scenic effect. Foliage and flowers are used in
greater abundance than in the preceding two styles. Moribana is a natural
expression, seeking to reproduce in miniature form the appearance of a view or a
garden scene. Though the philosophical symbolism of Heaven-Man-Earth is evident,
there is not conventionalized compactness in the arrangement or the use of
formal vases that are found in the classical styles.
The
Moribana arrangement can be enjoyed wherever it is placed, whether it be in a
chamber, a sitting room, a drawing room or a study. Needless to say, the
arrangement should always be in harmony with the room; however, Moribana is one
of the very few styles of floral arrangements which can be adapted to both
formal and dignified homes as well as to informal surroundings.
3.
Fundamental Principles of Arrangement
The art
of flower arrangement bases its precepts upon line, rhythm and color as the
means toward achieving a re-creation of floral growth. Westerners have always
emphasized the quantity and colors of the materials, devoting their attention
mainly to the beauty of blossoms. The Japanese, however, emphasize the line of
the arrangement and have developed the art to include stems, leaves and branches
as well as flowers.
The
underlying principles which make practical the Japanese arrangement of flowers
are indicated by three main lines which are symbolic of Heaven, Man and Earth.
These form the framework upon which the whole structure of Japanese flower
arrangement is built.
The most
important line is the stem which is symbolic of Heaven and often called Primary
or "Shin." It is this stem which forms the central line of the whole
arrangement. Therefore one should choose the strongest stem available.
Next to
the Primary stem is the Secondary or "Soe," which is symbolic of Man. It is
placed in such a manner as to give the effect of growing sideways and forward
from the center line. It should be approximately two-thirds the height of the
Primary stem and inclined toward it.
The
Tertiary or "Hikae" stem, symbolic of the Earth, is the shortest and is placed
to the front or slightly to the opposite side of the roots of the first two. All
are fastened securely in a holder to give the effect of growing from one stem.
Additional flowers may be added to fill out each arrangement, but it is the
correct position of the three principal stems which is of paramount importance.
In
arranging flowers, one should put the tray containing all the necessary flowers
to the right, and the flower vase should be set about two feet in front of the
arranger. It is easier to arrange flowers if the vase is near but in order to
properly view the flowers while they are being arranged, it is better to place
the vase a little far away. Although the container should be situated a little
lower than the level of the eye, it is better to have it a little too high than
too low, because if the vase is too low, one is apt to look down on the flowers
when arranging them and consequently when the arrangement is completed, the
effect will be quite different from what was originally intended.
It is of
primary importance to examine the shape and size of the container in which the
flowers are to be arranged before the selection of the flowers is made, since
the arrangement depends upon its size, width and depth.
After the
materials for the arrangement have been chosen, the next step in the procedure
is pruning. Most flowers or branches, no matter how shapely or orderly they may
have grown, have some superfluous parts, especially when they are used for the
purpose of an artistic arrangement. They all therefore need some pruning, a
greater part of which should be done before the branches are assembled, the rest
being performed while the branches are being arranged.
In order
to keep the flowers fresh, both physical and chemical devices are now employed.
The simplest and easiest of them is Mizukiri, or cutting stems in water. This
device will avoid exposing the cut end of the stems to the air, which would
cause poor suction of water by the plants. As for chemical methods, a little
hydrochloric acid or sulphuric acid, when diluted with some water, will revive
and refresh the flowers. An even simpler application of a chemical aid is to
take a pinch of salt and rub it into the end of the stems.
Flowers
and branches should be arranged so that they will be secure and at the same time
will have equilibrium. This means that the arrangement must be firmly fixed in
the vase. To obtain security and equilibrium, the arranger must make a curve at
the "foot" by twisting the stem or branch so as to keep it firmly against the
inside surface of the vase. The bending or twisting of a branch should be done
very slowly and carefully, the performer using both hands, in order to avoid its
being broken.
In
conclusion, a word of warning must be offered to those who desire to be
initiated into the Japanese art of flower arrangement. The rules set by one of
the schools do not necessarily apply to the teachings of other schools.
Differences of opinion and conception are as many as are the numerous schools of
flower arrangement in existence. Nevertheless, the basic principles of the art
are carefully preserved, common among all the schools.
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