Welcome

I have divided this presentation into eight separate sections. At the end of five of these sections you will find a Point to Ponder. Please select at least one of these to respond to (You may do as many as you wish!) and post your response in the comment area of that section. You may also, of course, make any additional observations you choose to in the Blackboard discussion area.

The next three sections have additional examples of ikebana arrangements. You can click on some of the images to see them in greater detail.

Under the heading "Resources", you will find some helpful sources for information and supplies, in addition to those used in preparing this online presentation.

What Is Ikebana?

"Reality is converted from its usual unremarkable state - in which we take it or its components for granted - to a significant or specially experienced reality in which the components, by their emphasis or combination or juxtaposition, acquire a metareality." (Dissanayake,95)

Ikebana is the floral art of Japan. The word is generally translated as "living flowers" or "flowers kept alive" and is used as a blanket term for Japanese floral art in a wide range of styles from a number of different systems or schools. Ikebana is systematic and subject to formal analysis.

The more formal term for the art is kado - "the way of flower" - a designation that makes it clear that it is not only a study of arranging flowers but a practice or discipline.(Kamachi, 85) There are many ways of arranging flowers in Japan that are not ikebana. Ikebana is to arranging flowers what chanoya is to making a morning cup of tea.


A Point to Ponder: Here is a quote from Kikka Shibata at www.ikebana-arts.com :

"In general, a flower or tree looks perfectly beautiful blooming in its natural environment. It can hardly be improved upon. So if we cut it down for our ikebana and try to reproduce its original beauty in a vase or by disposing it in another space, the attempt would be a failure. The plant's original blooming beauty will elude us. It is up to your aesthetic awareness to assemble the materials, choose their most beautiful aspects, put them in a different order, and endow them with a value transcending that which they had in nature. Arranging Ikebana begins with careful observation of the plant materials. With the help of nature, beauty is expressed by man's hand."

How does this quote help explain how such a contrived arrangement of floral materials can be thought of as "living flowers" or "flowers kept alive"?

The Tokonoma

The tokonoma is the alcove which, in traditional Japanese homes, is the place where the family's treasured objects are displayed. It became a popular and fashionable feature in premodern Japanese domestic architecture in the late fifteenth century.

In the above photograph, the Tokonoma is to the left. Note the hanging scroll on the back wall and the pillar at the corner. The corner pillar of a tokonoma is chosen for its unique character. Source for this image: Bluefield Joiners.

The size of the tokonoma has varied in size, averaging about 6' high and 6' wide and approximately 3' deep. The floor of the alcove is raised several inches to provide a platform and there might also be a shelf affixed to the back wall.

Remember that the floral arrangement placed in the tokonoma would be viewed by a person seated on the floor. For this reason, classical ikebana is meant to be viewed from the front.

Traditional decoration of the tokonoma consists of a hanging scroll, a treasured art object and a floral arrangement. As the tokonoma is a formal architectural feature, ikebana suitable for display would be the more formal styles. (Although ikebana is quite formal, some schools of ikebana teach both formal and informal styles of arrangement. What constitutes formality might not be readily apparent to the uneducated observer. The arrangements associated with tea ceremony might appear to be very casual but tea flowers (chabana) are considered to be formal.)

A Point to Ponder: The tokonoma was once a status symbol. Up until the end of the Edo Period (1615 -1868) it was a feature that could only be built by samurai and certain members of the merchant class. (Yagi, p 59) The practice of ikebana was mainly confined to priests and aristocrats until the 18th century, when the affluent merchant class became enthusiasts and women began to take it up. Still, no effort seems to have been made to make ikebana instruction available to ordinary people until the 20th century.

Why do you think that an effort began in the 20th century to make ikebana more popular and ikebana instruction more readily available?

A (Very) Short History of Ikebana's Origins

Rikka Style, Ikenobo School

The origins of ikebana are not precisely clear. Its roots reach at least to the introduction of Buddhism to Japan in the 6th Century and the floral temple offerings that accompanied it. Still, it is hard to ignore the influence that Shinto's appreciation of nature had on the development of ikebana.

Indeed, this combination of Shinto and Buddhist influences is visible in the arrangements themselves. Each ikebana arrangement is composed of structure and nature - of formula and variation.

Some authors trace ikebana to the Muromachi (Ashikaga) Period (1338 -1573), during which there was extensive contact with China. It is clear that ikebana flourished during this period, as did many art forms including architecture, tea ceremony, painting and noh theater. (Munsterberg, 77)

This date seems a bit late, however, given that flower arranging and flower viewing were popular with Japanese aristocrats as early as the Heian Period (794 - 1192). Also, the shoin-zukuri style of domestic architecture that was introduced when the samurai seized power in the Kamakura Period (1192 -1333) had as one of its main features an alcove - called the tokonoma - where prized objects, including floral arrangements, were prominantly displayed. There are also accounts of flower-arranging contests being held at the Imperial court from the 13th - 16th century. (www.ikenobo.jp)

The case for the Muromachi date rests on the reputation of the Ikenobo School which is often regarded as the birthplace of ikebana because its systematic approach is considered to have brought deeper meaning to the way in which people approached the arrangement of flowers. Rather than being content with arranging them in a vase, the school says that "an earlier attitude of passive appreciation developed into a more deeply considered approach." (www.ikenobo.jp) It is this change in approach which the Ikenobo School regards as the beginning of ikebana.

A Point to Ponder: The tokonoma is traditionally where a householder would showcase treasured items and things that displayed his good taste.

Is there a place in your home or office that serves a similar function?

Some Schools of Ikebana

Moribana: Water-Reflecting Style, J.A.Johnson

There are many schools of ikebana and they differ in underlying philosophies and theories of composition. Like other traditional Japanese art forms that we have looked at, ikebana instruction follows the iomoto pattern and the tradition specific to each school is handed down in a family of teachers.

Of all of the systems or schools of ikebana, the largest and oldest is the Ikenobo School. It was founded in the 15th century and is based in the Rokkakudo Temple, Kyoto. One prominent teacher of this school was a Buddhist priest named Ikenobo Senkai who is credited with the invention of the rikka ("standing flowers") style - one of the three major classical styles.

Another major school is the Ohara School, a modern school founded by Ohara Unshin (1861 -1916). Unshin devised a method of arrangement that took advantage of the new floral varieties being imported into Japan from the West. Called the moribana ("piled-up flowers') style, it also suited the westernized interiors that had come into vogue. The first public exhibition of the new style was held in 1897 and the Ohara School was founded in 1912. The Ohara School developed teaching methods that made it possible to train ordinary people to arrange in the moribana style. They also worked to promote ikebana and began to hold exhibitions in department stores.

The Sogetsu School is also a modern school. Founded by Teshigahara Sofu, it is known for its sculptural approach. A very useful tool made popular by the Sogetsu School is the diagram known as a kakei. Kakeizu illustrate both frontal and overhead views of an arrangement and show not only the placement of the bases of the stems in the vase but how the branches bend and relate to one another. Instructions for cutting stems to the correct length, based on rules of proportion, are also provided.

Points to Ponder: Please go to the Ikebana International website and browse through some of the links to the various schools. Note that many of the schools teach the same styles (Nageire, Shoka, etc.) but the results look very different. Is there a school whose philosophy or look resonates with you? Is there one that just leaves you cold?

Some Basic Styles

Rikka )"standing flowers"): one of the classical styles. It is very formal, structured and highly symbolic with strong vertical emphasis. The branches are treated like branches of a single plant and each branch corresponds to a part of an idealized Buddhist landscape (hill, valley, waterfall, etc.). Some of these arrangements could reach 12' high and were well suited to temple and palace interiors. Rikka style was very popular with monks and the aristocracy.

Rikka Shofutai, Ikenobo School

Nageire ("thrown-in flowers"): This classical style became popular with people who wanted a more natural arrangement. The stems are allowed to fall naturally and so the containers for this style tend to be tall or might be designed to hang from a wall or pillar. This form is related to the flowers used for chanoya (tea ceremony). Those flowers, known as chabana, should be selected by the host who looks for the most appropriate flower for the season and then selects a vase that enhances the flower's unique qualities.

Nageire Upright Style, J.A. Johnson

Seika or Shoka ("living flowers"): Another classical style, seika has fewer rules and is less formal than rikka. In this style, more attention is placed on the way flowers occur in nature and on the beauty of the flowers themselves. These arrangements are triangular in composition and there are three main branches, although additional branches may be added as long as they do not interfere with the dominant lines of the composition. This style was popular with the late 17th century merchant class.

(Left) Shoka Shofutai, Ikenobo School

Moribana ("piled-up flowers"): In the early 20th century, Ohara Unshin devised a method of using the new floral varieties. The vase used for this style is low and shallow and the arrangements suggest natural landscapes.

Each of the styles (and there are many!) has formal guidelines that determine the placement, length and relation of the branches. The skill of the ikebana artist is in the way that he or she responds to the floral materials within those guidelines.

Moribana arrangement of silk and dried flowers with ceramic pumpkin, J.A. Johnson

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Points to Ponder: In the tokonoma ( the alcove of a traditional Japanese house) the decorations change according to the season and occasion. The scroll, flower arrangement and any other prized object are selected to work together and enhance one another. A very important aspect of ikebana is appropriateness. The changes of the seasons and changes of life are reflected in the arrangements. Flowers may be be used at any phase of their development, from bud to fading blossom. They are also chosen for their symbolic associations.

Please respond to one of the following:

~What are some of the symbolic associations of plants and flowers that you are familiar with from your own culture?

~What are some of the ways that you or your family mark the changes of the seasons in your own home?

(Please note: all arrangements are by J.A. Johnson, unless otherwise noted.)

Nageire Style: Additional Examples

The Nageire Style developed from the flowers used for tea ceremony.

While the emphasis is on the natural qualities of the flowers and branches, there are many techniques available to enhance these qualities.

For the Cascading Style, it might be desirable to enhance the arc of a branch or improve the clarity of the composition by removing leaves that interfere with the dominant lines. Such careful editing is up to each individual.





(Above) Nageire Cascading Style, J.A. Johnson

(Right) Nageire Slanting Style, J.A. Johnson
















(Please note: all arrangements are by J.A. Johnson, unless otherwise noted.)

Flowers for Tea: An Example of Chabana

Chabana refers to the flowers for tea ceremony.

As in all other aspects of chanoya, great emphasis is placed on simplicity and the unique qualities of the materials.

While it is appropriate to turn the flowers so that their qualities are shown to their best advantage it would not be appropriate to subject the flowers to the same sort of manipulation characteristic of other forms of ikebana. Instead, flowers are placed in a way that seems to be casual but is actually well-considered.

For this arrangement I selected a handmade vase of reclaimed wood with a distinctive grain pattern and small wormholes. I decided that the orchid stem should be left long enough to emphasize the branch's natural inclination to bow and sway.

Chabana arrangement, J. A. Johnson

(Please note: all arrangements are by J. A. Johnson, unless otherwise noted.)

Moribana Style: Three Examples

Moribana Upright Style, J.A. Johnson

Moribana Upright Style, J.A. Johnson

Moribana Water-reflecting Style,J.A.Johnson

Resources

Vases for ikebana can be found almost anywhere. Target has a nice selection of affordable vases that are suitable. They also carry decorative pebbles and glass "stones" that are useful for anchoring stems or disguising the mechanics used during constructing the arrangements.

Kenzan can be a little harder to find but most floral supply shops carry some type of pin style floral holders that you can use for moribana. For heavy stems, you might need a little floral clay to anchor the holder to the vase. Both can be found at Target or Walmart.

Many craftspeople are making vases incorporating kenzan, so keep your eyes open in crafts galleries. I've seen them in glass, wood and stone, as well as in clay.

Ikebana was very popular in the US during the middle of the 20th century and now vases and books are easily spotted at yard sales and antique shops.

The flowers for this presentation were purchased at Whole Foods, in Chapel Hill. The Elliott Rd store has a terrific floral department and the staff are very helpful.

(Remember that the most suitable floral materials are the ones in season. It is quite possible you have the perfect materials right outside your own back door! Dried flowers and grasses can also be used, along with bare branches and seed pods.)

You might find the following books inspiring:

Keiko's Ikebana: A Contemporary Approach to the Traditional Japanese Art of Ikebana by Keiko Kubo (available from Amazon.com)

Ikebana: Japanese Flower Arranging for Today's Interior by Diane Norman and Michelle Cornell (available from Amazon.com)

The Art of Arranging Flowers by Shozo Sato (This is out of print but nearly every library seems to have a copy!)

Sources Cited

Bluefield Joiners. http://www.bluefieldjoiners.com

Dissanayake, Ellen. What Is Art For?. Seattle: University of Washington Press, 1990.

Ikebana International. http://www.ikebanahq.org

Ikenobo School. http://www.ikenobo.jp

Kamachi, Noriko. Culture and Customs of Japan. Westport, CT: Greenwood Press, 1999.

Ohara School. http://www.ohararyu.or.jp

Shibata, Kika. Web site for Ikebana Arts. http://ikebana-arts.com

Sogetsu School. http://www.sogetsu.or.jp

Yagi, Koji. A Japanese Touch for Your Home. New York: Kodansha International, 1982.

Happy NaNoWriMo!

To any and all who are brave enough to be chasing that marvelous, caffeine and adrenaline-fueled dream, best of luck!

I'll be back again next year!