Japanese flower arrangement applied to

Transcription

NYPL RESEARCH LIBRARIES
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THE NEW YORK PUBLIC LIBRARY
REFERENCE DEPARTMENT
This book is under no circumstances to be
taken from the Building
V
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:
JAPANESE
FLOWER ARRANGEMENT
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JAPANESE
FLOWER ARRANGEMENT
[IKE-BANA]
APPLIED TO WESTERN NEEDS
BY
MARY AVER ILL
(KWA.SHINSAI KIYOKUMAI)
i
WITH
88
B V
*
ILLUSTRATIONS
NEW YORK
JOHN LANE COMPANY
MCMXIII
638286
COPYRIGHT, 1913
BY JQHN. LANE COMPANY
*
.
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<
THE'PLIMPTON' PRBSS
NORWOOD-MASS'U'S'A
TO
MY PUPILS, MY INSPIRERS
DEDICATE THIs'aOOK
I
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-
.
•
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.
.
Ami
kami mo bana naraba.
Hilo mo kokoro mo bana no yono naka.
tsuchi no
Heaven and eartb are flowers.
Gods as well as Buddha are flowers.
The heart of man is also the soul oj flowers.
CONTENTS
PAGE
I
II
History
.
.
.
19
,.
Theory
III
Principles and Rules of
IV
ment
Arrangements of Three Flowers
Vase
V
VI
VII
VIII
Flower Arrange.
4 r1
in
High
50
The Two Principal Forms or Styles of
Flower Arrangement
To Make Arrangements of Five Flowers
How
77
80
.
to Arrange Five Chrysanthemums
Rules for Bending Flowers and Branches
82
.
84
IX
Water-Growing Bulbs and all Arrangements Made in Low Broad Receptacles
X Arrangement of Branches
XI Making one Branch Joined at the Base
Serve for whole Arrangement ....
XII
How
Flower Arrangement
Flowers in Hanging Receptacles
132
ASHIRAI
XV
Flowers Arranged according to Shapes of
XVI
122
124
XIV
V
1I3
to Suggest the Season of the Year
in
XIII
89
l
AbES
Flowers Blooming
T
in
and out of Season
[9]
ng
7I
173
CONTENTS
PAGE
XVII
XVIII
How
to Arrange Flowers in a Vase of
many Sections
When Flowers
alone
may be used and
when Leaves only
XIX
XX
XXI
XXII
in
Preservatives for Flowers and Trees
195
200
.
.
207
The Schools of Japanese Flower Arrangement
[10]
191
Flowers and Trees
Japanese Flower Vases
Sex
179
214
ILLUSTRATIONS
Frontispiece
Color
PAGE
Showing how the Arrangement of Ornaments is influenced
by the Rules of Flower Arrangement
Showing how Flowers are placed in Holder No. 1
Showing how Flowers are placed in Holder No. 2
Flowers placed in Holder No. 4
Showing Flowers placed in Holder No. 5
Principal Lines used in Flower Arrangement
Three Sprays of Magnolia
Three Sprays of Camelia with only One Blossom
Three Chrysanthemums
Any Three Sprays of Flowers growing in Clusters may be
.
.
.
.
....
....
...
arranged as these
Simple Arrangement of
Arrangement of Yellow
Ways
43
43
45
45
51
52
65
67
69
71
Iris
Lilies
Arrangement of Three Iris
Water Arrangement showing
Different
23
and Reed Grasses
Iris
and Grasses
...
....
of grouping Iris Leaves
93
95
97
99
101
Simple Arrangement of Leaves
103
Water Arrangement
Arrangement of Common Yellow Lily
Pine Branch
Plum Branch
Pine and Plum
An Arrangement suitable for February or March when
Winds are High
A March Arrangement showing Influence of High Wind
105
[II]
107
115
117
119
123
127
ILLUSTRATIONS
PAGE
133
Arrangement of Morning Glories in Hanging Vase
This shows a Hanging Arrangement in which the Heaven
.
is
.
....
Upright
Hanging Moon and Hooked Vase
Hooked Vase
Out-going Boat Standard Arrangement
Incoming or Boat of Good Fortune
Sitting Boat going
Hanging Moon
Morning Glories in Hanging Boat
Sitting Boat at Anchor
Boat Bow on with Iris
Showing how a Branch with Ashirai may be arranged
without a support
Ashirai
Arrangement
137
139
141
143
145
147
149
151
153
155
161
of
Pine
Bamboo and Chrysan-
themum
163
Another Arrangement of Ashirai
Ashirai Arranged in Three-Pronged Kubari
Arrangement of Plum Blossoms
Three-sectioned Vase with Wistaria and Iris
Three Aspidistra Leaves
Five Aspidistra Leaves
Seven Aspidistra Leaves
Nine Aspidistra Leaves
Showing how Leaves must be tied in groups over Night
Seven Aspidistra Leaves showing how desirable a Torn
Leaf is considered
Flower Basket of Split Bamboo
Still
[12]
135
.
.
.
.
.
.
.
.
165
169
175
177
181
183
185
187
189
201
INTRODUCTION
AFTER
Ceylon,
deeply
flowers
the
are a
Japanese
long
and
through
travel
China
impressed
I
than
India,
was
more
ever
that
greater factor in the
than in that
life
of
any other
of
nation.
When
the
art
of
art
flower
me
convinced
this
returned to Japan,
I
that
knowledge
Following
peoples.
my
arrangement
the
study of
for
Japanese
of
value
this
art
to
years
held
in
Western
from
youth
has given the Japanese an idea of proportion, taught them the power of concentration,
and one might almost say imbued them
with
many
of their finest traits of character.
Aside from the gain of beauty in the results
of these
floral
arrangements
vantage of prolonging the
arranged,
I
am
sure that
all
life
and the adof flowers so
who may be
led
[13]
INTRODUCTION
into trying this system for themselves will be
amply repaid
may
I
for
devote to
am
its
any amount of time they
practise.
confident that a recognition of the
beauty of a few flowers naturally arranged
will
bring flowers more into general use by
those
who have
hitherto felt that quantity
was necessary to produce any pleasing effect.
If we would but profit by what the Japanese
no one who loves and longs
flowers need be without one or two to
have to teach
for
us,
give suggestion of nature's wealth of beauty.
Even one spray of green can suggest the
freshness of growing things which
shut out from our city
lives;
is
so often
while our masses
of roses and violets suggest only the hot-
house and are out of the reach of
many who
could have a few flowers.
Mr. Josiah Conder, in his comprehensive
and wonderfully instructive work on the
subject, "The Flowers of Japan and the
Art of Japanese Floral Arrangement," has
given us great enlightenment.
No
other for-
eigner has had such opportunities, none has
[14]
INTRODUCTION
shown such keen appreciation of the flower
art's symbolism and beauty.
All lovers of
the art owe Mr. Conder endless
gratitude
for the information
he has given
But
us.
while Enshiu-Ryu, the school Mr. Conder
has
selected to describe,
them
all
the most striking of
and has impressed its influence on
all
later schools,
lines to
The
state
it
is
is
too unnatural in
its
appeal to Western taste.
lover
is
of
flowers
startled
rather
Enshiu-Ryu.
In
decoration,
that
in
their
than
following
natural
by
pleased
the
history
of
Ike-bana you will see that Enshiu-Ryu was
created in a period when all art ran
to
than
for
so
actual
that Enshiu-Ryu
are
so
strong
it
is
more
arrangements
is
and
valuable.
clear
for
of
design
flowers
Its principles
that
they
have
been followed by most of the other schools,
but they became exaggerated to such an
extent that the natural growth of the plant
was lost sight of in extreme and unnatural
curves.
this
Mr. Conder as a scholar took up
school,
as
he himself states,
for
the
I'Sl
INTRODUCTION
reason that
its
adapt themselves
principles
the most readily to purposes of explanation.
But
my
as a practical follower of the art,
many
experience in
years' teaching has been
that the simpler schools are more adapted
to Western needs.
most
Like
foreigners,
commenced my
I
study of Ike-bana with Enshiu-Ryu, but soon
wearied of
its artificialities,
and through the
kindness of a Japanese friend was led into
Koshin-Ryu,
a
The
school.
more
and
simple
and
pleasure
natural
benefit
I
have
derived from a long study of this style can-
Not only
not be estimated.
and beauty of the
the
strengthening
but
also in
of
the
trees,
all
much
that
it
others
what
I
directions,
I
I
of
proportion,
of observation
all
plants
and
and improving
have gained so
makes me long to pass on to
have found so helpful.
following
Koshin-Ryu
[16]
of
in the simplifying
of taste in
After
sense
growth
grace
achieved and in
lines
the quickening
natural
and
of
in the
for
years
the
school
of
found great benefit in learning
INTRODUCTION
something of the others.
All these schools,
with but one exception, Kyo-fu,
differ
only
in the non-essentials, the principles are the
same
Each
throughout.
school,
however,
has different names for the principles and
places the flowers in the vases in a different
The
order.
kubari or support, which holds
the flowers in place in the vase,
and placed
there
main
differently
also
is
by each
school,
are other slight differences,
same
principles are the
Ike-bana,
in
Japanese word
the
made
and
but the
all.
for
flower
arrangements, means living flowers and ex-
by
plains
principles
its
derivation
of the
knowledge of
its
the
grouping.
history
it
fundamental
Without some
does
not seem
possible to get into the proper spirit for working out the true beauty of these arrange-
ments, so in these pages
is
history
schools
of
the
different
dates; as age counts for so
that
the
given a concise
much
and
in
their
Japan
more modern
schools are looked down upon with scorn
by the adepts of the old schools.
followers
of
the
[17]
INTRODUCTION
In Ike-bana the Japanese have given us
a
arrangement of flowers which
scientific
excels all others in beauty of line
into our
and brings
homes the refreshment derived from
growing plants
—a
quite different sensation
from that given by other arrangements of
cut flowers.
By
the aid of the following pages,
cerely
hope
arrangement
that
of
tained by
all
something
less
a
simple
flowers
who have
but
I
sin-
beautiful
may
be easily at-
felt
the desire for
confused in flower arrange-
ment than has yet been reached by Western
people.
[18]
JAPANESE
FLOWER ARRANGEMENT
[19]
JAPANESE
FLOWER ARRANGEMENT
CHAPTER ONE
HISTORY OF IKE-BANA
TO
those
there
its
is
interested
in
Japanese
no better means of following
progress
than through the
is
so distinctively their own, bear-
ing so few traces of
It
is
his-
No
tory of Japanese flower arrangement.
other art
art
foreign origin.
curious that Ike-bana, which
doubtedly of religious birth and
in
is
un-
Japan an
outcome of Buddhism, should have
left
no
impression in India, Ceylon, or Korea, where
Buddhism was a
it
national creed long before
reached Japan.
like to credit India
flower arrangement,
Although the Japanese
with the origin of their
in
its
present form
it
would not be recognized by the land from
[21]
JAPANESE FLOWER ARRANGEMENT
which
it
is
thought to
have sprung.
In
what Captain Brinkley so aptly wrote
"although
in regard to the tea ceremony
the embryo of the tea ceremony came from
fact,
—
India, its full-grown conventions as practised
by the Japanese could not be recognized
by the land of
origin"
their
— applies
as
well to Ike-bana.
China alone shows a
by
influence in
its
quets
— masses
its
faint impression left
hideous funeral bou-
of brilliant flowers on short
stems, crudely and tightly put together
much
as our bouquets were arranged several gen-
erations ago.
The Chinese
an exquisite basket
this
basket
there
is
is
is
so
also lay claim to
for holding flowers.
Greek
in
outline
But
that
considerable doubt as to whether
it
Grecian or Chinese.
By
natural outcome from the Buddhist de-
came the desire to
preserve plant life. It thus came to be one of
the occupations of the priests to arrange and
care for those plants and flowers which were
sire to
preserve animal
the most popular of
[22]
life
all offerings
to the gods.
Showing how
the
Arrangement
of
Ornaments
is
by the Rules of Flower Arrangement
influenced
HISTORY OF IKE-BANA
While
the
in
China the Buddhist
priests
were
instructors of flower arrangement,
first
Japan they only introduced its crudest
elements.
For a long time the art had no
meaning and was merely the placing in
in
without system,
vases,
be
used
as
temple
ancestral
shrines.
Brinkley,
"What
of
the
and
offerings
Again
flowers
quoting
Buddhist
the
before
Captain
imported
from India was based on equality of
bution
— what
to
distri-
the Japanese conceived was
a method based on balance of inequalities."
The
with
first
a
flower arrangements
system
were
known
worked out
Shin-no-
as
meaning central flower arrangement.
huge branch of pine or cryptomeria
hana,
A
stood in the middle, and around the tree
were placed three or
five
seasonable flowers.
These branches and stems were put
in upright positions
ficial
The
curves.
metrical,
and
this
is
in vases
without attempt at
general form
what we
arti-
was sym-
find in
Japanese
religious pictures of the fourteenth century.
It
was the
first
attempt to represent natural
[25]
scenery.
The
large tree in the center repre-
plum
sents distant scenery;
soms middle
distance,
the
or cherry bloslittle
flowering
The lines of these
arrangements were known as center and
plants the foreground.
sub-center.
The
many
art developed very slowly,
schools
now
so popular did not spring
into existence until the
century.
end of the
fifteenth
This was the awakening in Japan
coinciding with the
Europe.
and the
Elizabethan period in
In this later part of the fifteenth
century architecture as well as art under-
went great reformation. As the kakimono
(scroll picture) and arrangement of flowers
were
generally
room,
it
the
ornaments
only
a
was natural indeed that the flower
arrangement influenced the
tions,
in
interior decora-
which became more simple and more
exquisite.
Yoshimasa (1436- 1490), eighth Shogun of
the Ashikaga Dynasty and a munificent patron of the arts, was the greatest promoter of
Cha-no-yu, the ceremonial
[26]
tea,
and Ike-bana,
HISTORY OF IKE-BANA
Yoshimasa
flower arrangement.
dicated the throne in order
time to the
fine arts.
sions
and placed as
all
time
commenced
It
is
said
ceremonial occa-
offerings before the gods
should not be offered loosely,
represent
devote his
was he who
It
that flowers offered on
to
finally ab-
and
thought.
but should
then
Rules
to be formulated.
to the celebrated painter Soami, a
contemporary and friend of Yoshimasa, that
the
Japanese
ment, for
it
the
attribute
new develop-
was Soami who conceived the
idea of representing the three elements of
Heaven, Man, and Earth, from which have
grown the
of
principles
used at the present day.
masa's Silver Pavilion in
cult of Cha-no-yu,
Koawase,
said to
the
the
arrangements
was at YoshiKyoto, where the
It
the tea ceremony, and
incense
ceremony,
may
be
have been evolved that the art of
Ike-bana received
its
great development.
we follow the taste of the artists of this
day, known as the Kano School, Sesshu
Sesson, Masanobu, Motonobu
( 421-1507),
If
1
[27]
(1477-1561), and Shugetsu of the sixteenth
century,
we
will
find
ture, so that Ike-bana
them
all
lovers of na-
advanced
in this period
a step farther than temple and room decoration
and commenced
sider natural
At
this
beauty
in a
in
crude
floral
way
to con-
arrangement.
time Ike-bana was known as Rikkwa.
same age conceived another form
Rikkwa and
of Ike-bana called Nageire.
Nageire are the two branches into which
This
Ike-bana has been divided.
has
vacillated between these
National favor
two
for
cen-
Rikkwa was
and the more decorative;
formal,
stiff,
whereas Nageire was simple and nearer to
In
turies.
the
beginning
nature.
Although Nageire began to come into favor
in the
Higashiyama Age, Rikkwa was
preferred,
still
and Nageire did not truly gain
popularity until the
Momoyama
Age, about
one hundred years after Yoshimasa.
It
was
Tea Cerehighest development and
at this period that Cha-no-yu, the
mony, reached
its
strongly influenced the flower art: an adept
[28]
HISTORY OF IKE-BANA
Cha-no-yu was pretty certain to be also a
in
follower of Ike-bana.
The
of Nageire, after a long, hard
style
struggle
existence
for
Rikkwa, branched
freedom of
dependent of
a
became independent
It was welcomed by
off,
and very popular.
the people
as
the sixteenth century for
of
and
line
natural
its
beauty.
So
that while these two branches both started
in the
Higashiyama Age, Rikkwa better rep-
resents the taste of that time, while Nageire
gives us a truer idea
Momoyama
Age.
In
in
the
part of the
1668)
it
was
short,
Momoyama
the
slighted
first
of the taste of
the
Rikkwa was
period, but in
Tokugawa Age (1603-
revived
and
became more
popular than ever before.
In
the
Higashiyama Age
Rikkwa was
used only as room decorations on ceremonial
occasions, but
it
now was
and looked upon
art
as
an accomplishment
and pastime of the upper
It
followed as a fine
classes.
has always been considered a dignified
accomplishment.
All of Japan's
most
cele-
[29]
brated generals have been masters of this
finding that
art,
made
decisions
clear their
That men
action.
calmed their minds and
it
like
the
for
field
of
Hideyoshi and Yoshi-
masa, two of Japan's most famous generals,
found benefit in the practise of Ike-bana
shows that
it
is
mind.
masculine
the
greatest
valuable training, even for
popularity
Rikkwa reached its
during the Genroku
Age.
There were many works on Ike-bana published in the centuries from Kenei (1206-)
to
The
Genroku (1668- 1704).
book
called
Sendensho,
early part of Kenei,
published
in
the
and there were many
They gave few
dent of flower arrangement.
and
was a
none of much value to the stu-
others, but
rules
first
their
to withhold
all
chief object
information.
seemed to be
They were
all
founded on Soami's idea of the three elements. Although these books were valueless as far as instruction is
were
all
fully illustrated,
tures one can see
[30]
concerned, they
and by these
pic-
the gradual progress of
HISTORY OF IKE-BANA
the
Finally
art.
a
most
valuable
book
was written by Ikenobu, called Kandensho.
This was carefully written and very instructive, with rules and principles freely given.
In
and
the
Kenei
Age Rikkwa was simple
natural, with no extreme curves, but in
Genroku the lines of the arrangement became complicated and the forms patternlike.
This was an age of utmost elegance.
All the fine arts were highly developed,
pattern-printing for
all
fabrics
above
and decora-
In the later part of the seventeenth
century Korin, the famous lacquer artist
tion.
and
essentially a creator of exquisite designs,
strongly influenced Ike-bana.
At
this period
the combination of a pattern or design in
flower arrangement, with lines which followed
the natural growth of the plant, produced
the most pleasing and graceful results.
It
was
in this later part of the
seventeenth
century that Ike-bana was most practised
and reached its highest degree of perfection
as
an
art.
Still
there were occasional back-
slidings into unnatural curves
and
into arti-
l3i)
This occurring at the end of the
ficialities.
period caused a feeling of disgust with Rikkwa,
and Nageire again revived. Until then only
one branch of Ike-bana had been taught at a
time, and this followed the taste of the day;
but now
rival teachers in
both Rikkwa and
Nageire existed.
Rikkwa reached its greatest popularity
in the Genroku period, and also then commenced its decline. From the decline of
Rikkwa, Nageire, the origin of the present
Ike-bana, grew in power.
on
the
it
From
this
time
ceased to be called Nageire and took
name
of Ike-bana.
(178 1- 1 789)
In the
Tenmei Age
Nageire or Ike-bana advanced
rapidly in favor and developed great beauty
of
line.
At
this date the
exponents of the
art not only studied nature freely, but
com-
bined this knowledge with that of Rikkwa,
the result bringing Ike-bana to a very perfect
state
of
development.
After
Tenmei the
purest and best taste in Ike-bana began to
diminish and a formal and
artificial
arrangement came into existence.
[32]
form of
This
is
HISTORY OF IKE-BANA
the present form, which has a fixed
rule or
model known as Heaven, Man, and Earth.
The most popular schools of today, Ikenobu, Enshiu-Ryu, Misho-Ryu,
to these principles,
but there
etc.,
still
adhere
exist in
Tokyo and Kyoto many masters of Ike-bana
who teach the simpler forms of Ko-Ryu,
Ko Shin-Ryu
and
Tenmei
Heaven,
adhered
They
ages.
of
feel
Genroku
and
that the rule
of
and Man, too obstinately
gives constraint and spoils nat-
Earth,
to,
uralness of arrangement.
necessary
ciples
the
to
use
these
It
is
absolutely
fundamental prin-
order to achieve a well-balanced
arrangement, but to accentuate and exaggerate these lines is looked upon as
poor taste
in
by the admirers of these more natural schools.
Therefore these lines must not be made
so
strong as to obliterate the natural
form of
the plant.
I
feel
most strongly that the
Ike-bana practical
for use in
the
styles of
Western
world are those which combine the
pattern
or rule with following the natural
lines of
[S3]
plant growth.
enjoy not
In doing this
only
an
we
exquisite
are able to
composition,
but also a bouquet in which one sees and
feels
the surroundings from which the flowers
were gathered.
[34]
CHAPTER TWO
THE THEORY OF JAPANESE
FLOWER ARRANGEMENT
THE
theory of this
anese consider
esting but
is
art, for so
it,
is
the Jap-
not only inter-
as helpful
in
producing
the beautiful results as the few flexible rules;
and the theory is as inseparable from these
rules as the early history of Japan is from its
mythology.
theory.
Religion also contributes to this
Since
flower
arrangement entered
Japan from China with Buddhism, it naturally was imbued with Chinese and Buddhist
philosophy.
The Buddhist
serve
at the root of the whole subject
life lies
and has created most of the
desire
to
pre-
rules of flower
arrangement, controlling also the shapes of
the flower vases, which are so formed as to
help to prolong the
life
of the flowers.
So
much thought and time would never have
[35]
been given to preservatives had not
sire
predominated
this de-
in all their floral offerings.
Quaint and mythical as these ideas appear,
to
them the beauty of
cannot but doubt
ever have
if
line
is
due, and
we
the same results could
been achieved by commonplace
thoughts.
The
idea of good
and
evil fortune
governs
both selection of material and form of arrangement.
The
colors of
considered unlucky.
Red
some
flowers are
which are
flowers,
used at funerals, are undesirable not only for
that reason, but also because red is supposed
to suggest the red flames of a
fire.
An odd
number of flowers is lucky, while even
numbers are unlucky and therefore undesirable, and never used in flower arrangements. With the odd numbers one avoids
symmetry and equal balance, which are
actually seldom found in nature, and which
from
the
Japanese
attractive in art of
The
different
standpoint
any
members
are
description.
of the group in a
flower arrangement are distinguished
[36]
never
by such
THEORY OF FLOWER ARRANGEMENT
Heaven, Man, and Earth;
and Water; Father, Mother,
classifications as
Earth,
Air,
and Child.
The
idea of applying a distinc-
tion of
sex to inanimate objects enters as
largely into flower arrangement as it does
into all
of that
tical
Japanese landscape gardening; but
we
will treat
more
fully in the prac-
part of this book.
Consideration of the vase as being something more than a mere holder of the flowers
is
purely Japanese.
They think
of the sur-
face of the water,
which they always expose,
as the surface of earth from which the group
springs.
This aids in working out the effect
of representing a complete plant growing
as
nearly as possible in
The vase always
its
natural conditions.
represents to
them the
points of the compass; thus:
South
r»»t
***»»
M«rt1\
[57]
Just the opposite from our points of direction, for the reason that the
Japanese put
themselves in the place of the vase.
They
in
an expression of the seasons
give
arrangements, grouping
their floral
according
differently
flowers
For example,
of the year.
March, when high winds
the
to
in the
the
time
month
of
the un-
prevail,
usual curves of the branches convey at once
the impression of strong winds.
summer
In
the Japanese rejoice in the low, broad receptacles,
where the water predominating pro-
duces a cooler and more refreshing arrange-
ment than those
There
no occasion
is
suggested
in upright vases.
by
the
which
manner
in
cannot
which
be
the
flowers are arranged.
It
might seem strange to us to have our
departure
from
home
announced
unusual arrangement of flowers.
by
an
Yet hun-
dreds of ordinary occurrences are heralded
by charming
flower compositions.
Japanese poets
comparing
138]
its
So
many
have sung of the willow,
very long branches with long
THEORY OF FLOWER ARRANGEMENT
happy married
life,
etc.,
life,
many
quently used for
fre-
is
and
is
arrangement made
the length of
parting,
it
celebrations
a great favorite for an
at
that
branch insuring
a safe return from the longest journey, especially
one branch
if
complete
used, as they
fire
suggest
being
but the roof
fire,
occasions.
white
flowers
water to
is
quench a
many
houses everything
inflammable.
Red
so should be avoided
To
are
their constant dread, as in
the construction of
suggest
form a
to
circle.
For a house-warming
fire;
made
is
celebrate
flowers
on such
an inheritance
kinds of evergreens or chrysanthemums
all
may
be used, any flowers which are long-lived, to
convey the idea that the wealth or possessions
may remain
forever with you.
There are appropriate arrangements
all
felicitous
ones.
An
occasions,
offering
at
as
well
as
for
for
sad
death should be of
white flowers, with some dead leaves and
branches, so arranged as to express peace.
All gifts of flowers
must be
in bud, so that
[39]
the person to
whom
the pleasure of seeing
contrast
to
the
may have
they are sent
them open
present
— quite
Western
idea
a
of
everything being forced to perfection before
leaving the
[40]
florists.
CHAPTER THREE
PRINCIPLES
AND RULES OF
JAPANESE FLOWER
ARRANGEMENT
How
THE
the
Flowers are Held in Place
step in the arrangement of
first
flowers in Japanese style
the support
or kubari
is
to
which
make
holds
the flower in an upright position in the vase.
This support must be firmly placed in the
vase so that
not
from side to side
before the flowers are put through it.
Almost every school has a different style
of support.
it
will
In
some
slip
schools
the kubari
is
cut differently for every season of the year.
The ones used by Koshin-Ryu are the sim-
and are the same throughout the year.
They are like the cuts given on page 42.
Take any piece of wood in which the sap
plest
is
running and which can be bent without
[41]
splitting;
the stick should be in
proportion to the size of the vase,
about the thickness of
usually
Fig
one's
thumb.
one end, a
Split the stick at
little
to one side of
the middle, for about an inch,
enough
long
or
admit
to
all
the branches you wish to pass
Fig 2
through; then at the end of this
slit,
or where the opening stops,
make
a
notch
with
a
knife
through the bark on the thinner
side
and bend
until
Fig. 3
it
this thin side
forms a fork
back
like Fig.
i.
This notch forms a hinge which
can be opened wide enough to
admit of many flowers or closed
so as to hold only one.
Fig. 4
prevents the
slit
It also
from running
the entire length of the stick.
In measuring the stick place
one end an inch below the top
edge of the vase, slanting the
other end over the top edge on
Showing how Flowers are placed in
Holder No. i
Showing how Flowers are placed
Hoider
No
_
2
in
%
^>. #
*?•«'-
Flowers placed in Holder No. 4
Tbis arrangement is described under
Ashirai
Showing Flowers placed
Holder No. 5
in
PRINCIPLES
other
the
AND RULES
This
side.
make
will
long
it
enough; but were you to measure straight
across the top of the vase when you opened
the stick at the end,
short
and
it
would become too
into the receptacle.
fall
end
the open
Place the open end in
stick
and
first
horizontal
a
into
force the
position
with
The support should be
other end.
put
back of the vase.
the
at
vase
the
In placing the support in
its
at least
one inch below the surface of the water
when in its proper place; thus it will be
entirely hidden
will
from sight and the flowers
appear to be holding their upright posi-
tion without
made and
easily
will
This kubari
aid.
artificial
is
be found most useful
making one branch or flower stand upright in a wide-mouthed receptacle.
in
Another support
piece
of
different
better
made from a
wood with ends
angles.
for
large
great strength
flowers
is
in
(See
slanted
Fig.
branches
2.)
and slender branches
This
is
require
but for
Fig.
at
off
which
the support,
forked
1
is
all
the
[47]
better.
stick
It
the
is
often difficult to get a forked
proper
Whereas the
too large or too small.
kubari can be cut to
fit
tend to pass through
it
wedges to
the back.
fill
be
either
will
It
size.
first
the flowers you in-
and
will
require no
up the unoccupied opening at
These wedges, which the beginner
often finds necessary to keep his flowers firm
in the kubari, are not desirable, as
they are
untidy and detract from the all-in-one parentstalk appearance.
If
you have no suitable wood at hand from
which to make a support, use the ends of
the branches or flowers you are arranging,
crossed as
shown
in
Fig
considered desirable and
is
This
5.
is
not
used only in an
emergency.
These stick supports are used
and plants placed
in
high
for all flowers
vases,
but for
water-growing flowers in low receptacles the
lead
rings
and metal holders are used
the ways described later.
148]
in
1
49]
CHAPTER FOUR
AN ARRANGEMENT
OF THREE
FLOWERS IN HIGH VASE
FIRST
select
your flowers or branches.
In time one learns to choose flowers
which lend themselves to the three
of
principles
Heaven, Man, and Earth so
nearly to begin with that very
or pruning
is
When you
material to
but
if
little
bending
necessary.
can yourself choose your
work with
obliged to
half the battle
use
is
own
over;
branches or flowers
chosen by the uninitiated the task
is
made
difficult.
Select
your flowers or branches with as
long stems as possible.
Every arrangement must have the three
principal parts
Earth.
Any
known
as Heaven,
are merely supports to these
ISO]
Man, and
additional branches or sprays
main
principles.
Heaven
_ATt
Nbu+e
M3
Attnbute
E^ + h
i%
.
Heaven
....Man
E^v-th „
•*
•'.'.
«
.
•
.
•
.•
.
*
...
•••••.
•
•
•
•..
*
*
*
*
*
• «
*
*
*
*
m
•*•
.
•
.
*
•
*
#
*
«
•
•"*
*.-•
• . •
•
•
*
•
•
.
•
• •
•
•
••
•
•
...
*.*
:•
•
.
•
.
**:••*
>•
*i
.
»
.
.
•
*
*
'
*
•
*
*
.
*
ARRANGEMENT
The
lines
IN HIGH VASE
of these
three
principles
are
described by the Japanese in this way:
Heaven
Man
Eartb
Standing
Going
For convenience we
Running
will
always
call
these
Man, and Earth. Every
school applies different names to these principles, but to vary them here would only
cause confusion, and whatever each school
three parts Heaven,
may
call
same
same
position in
them, they
them in the
grouping and give them the
all
place
relative heights.
Before commencing the arrangement bear
in
mind these important
rules:
[55]
The
First.
idea that your arrangement
is
to represent a living plant, not cut flowers.
By form
Second.
of arrangement to sug-
gest the season of the year.
Suggest the nature of the growth
Third.
of
plant
the
proper
use
withered
you
of
are
open
buds,
by the
arranging
flowers,
and
leaves.
Be
Fourth.
sure to keep
the branches
all
or stems together at the base for at least
four inches above the surface of the water,
to
form the parent
important.
This
stalk.
is
most
Branches separated at the base
are very badly arranged.
The
surface of the
water in which the flowers are placed represents the surface of the soil from which the
group springs;
so that here
you want to
convey the impression of strength and a
vigorous
For
origin.
four
or
five
inches
the stems or branches must follow the same
line.
This need not always be a strictly
vertical one, but
if
strong and avoid
This
is
156]
curved, the curves must be
all
weak bends and
angles.
a most important rule, for without
ARRANGEMENT
strength and
IN
HIGH VASE
unity at the base the group
loses the effect of
a living plant;
strength, character,
and
style.
ment spreading and separating
is
it
loses also
An
arrange-
at the base
not Japanese.
Branches or leaves must never cross
Fifth.
each other in an arrangement.
Consider the blossom as a detail of
Sixth.
the composition, of
little artistic
value
associated from the parent stalk
if dis-
and from
those lines of growth which impart to
it its
character.
Seventh.
Never
even
use
numbers
of
branches or flowers, always uneven.
Balance and beauty of
tition
line
without repe-
must be the distinguishing feature
in
these arrangements.
making your first arrangement of three
flowers in an upright vase, select flowers
In
the stems of which are simple and straight
without
The
many branching
leaves or flowers.
best material for a beginner
willow, for
its
plicated lines.
is
pussy-
stems are pliable and of uncom-
To work
with these
first
for
[57]
practise
than
will
fuller
if
Work
end you
give
more
satisfactory
results
sprays are attempted.
but
slowly to begin with;
will find that flowers
in
the
take no longer
to arrange in Japanese style than in
any
less
satisfactory way.
When
arranging white and colored flowers
together, put white or lightest shade at the
top, unless the dark flowers are the longest;
then you are obliged to use them as Heaven.
But the best form
is
to have white or delicate
shades at the top.
your Heaven which must
First pick out
always be the longest one and take the central
position in the group.
Its
length should be
one and a half times the height of the vase.
Man
comes second, next
in
length.
It
should be half the length of Heaven.
Earth
is
third
and
half the length of
The
shortest.
It
should be
Man.
lengths should be determined before
the sprays are bent.
Before these branches can be placed in
the
receptacle they
[58]
must
all
be bent into
ARRANGEMENT
The bending
their proper shapes.
according
the
to
HIGH VASE
IN
rules
for
is
done
bending given
later.
Now
take the longest branch, from which
Heaven is to be made.
It must then be
bent carefully into this shape, (see
cut)
or a line as
ble like
it.
nearly as possi-
There can be but one
Heaven branch.
It
can
never be
multiplied.
Hold the branch up before you
and look at it carefully to determine which side
will
serve better
for the front.
This should be
the side the leaves and flowers
naturally turn to.
have bent
After you
to your satisfac-
it
tion, place it in water,
but not
the receptacle the arrange-
in
ment
is
made
to be
in.
Next take up Man, which
should
the
be the
vase.
It
than Heaven, but follows
first
will
its
placed
in
be shorter
lines like this.
[59]
Hold
(See cut.)
this
branch in your hand
together with Heaven, having
it
directly in
Heaven and making its lines correspond with those of Heaven for four inches
Above the four inches it can
at the base.
show more independence and branch off
farther from Heaven, but must still hold
front of
the same
lines,
Last of
which
all
like
only at a distance from
it.
you bend the Earth branch,
Man
takes the lines of
Heaven
Hold Earth
in
your hand with the other two branches
in
at the base for four inches.
order to get the base
The Japanese always
exactly
lines
compose an
first
rangement
in their
fore placing
Earth,
right.
it
ar-
hands be-
in the vase.
after
following
at
the base the exact lines of
.
the other two, takes an inde-
pendent
cut)
—a
line
like
this
decidedly
(see
lateral
tendency that none of the other branches
have.
It is
appear very
[60]
necessary that this branch should
far
back of the others.
ARRANGEMENT
Now
place.
IN
HIGH VASE
you have your flowers ready to put in
The beginner must follow closely all
these rules to be sure of being right before he
commences
to put the flowers in
position in the vase.
If
an upright
you understand well
the theory of arranging these three you can
arrange any number of flowers in the same
way.
Your kubari having been
firmly fixed in
the vase as described, the vase
three-quarters
If
filled
spill
to
full
the
flowers,
the
arrangement
pleted, then
so
about
of water.
brim you
the
the water
is filled
placing
in
wait
fill.
is
until
com-
With the
open end of the kubari away from you as
in the cut,
Man
in
take Heaven in your hand, place
front of
formed by
it,
and into the hollow
Heaven place
Earth
back
of
Heaven.
While you hold the branches
in
your hand,
take the knife and cut off on a slant
all
the
branches; thus:
[6i]
For
if
your stems are
left
blunt and round at
the ends the kubari will be split apart; or
you slant
finish
for
if
each one separately as you
off
bending
it,
you are apt to cut
the branches are not
on exactly the same
No amount
will bring
them
far
slanted off
all
must be joined as
into proper place
Man
wrong;
of twisting and turning
been cut on opposite
Next put
it
side they will fall apart
at the base, where they
one.
if
if
they have
sides.
in the kubari
and
pull as
forward into the fork of the kubari as
possible.
itself
When
follow
close to
stands
firmly
erect
by
with Heaven, pulling that
it
Man, and then Earth
the back and
[62]
it
is
goes in last at
pulled close to
the other
:
ARRANGEMENT
IN HIGH VASE
two.
The
large
enough to have these three
kubari should have been cut just
Man
opening,
the
fill
pressing firmly to the end of
the forked opening in the kubari and Earth
pressed against the back of the vase.
they not
fill
Should
the opening, use sticks cut from
the ends of the flowers you are using to
up with.
Cut these wedge
sticks all
fill
about
four inches long, slanting each one off at the
bottom, and pass them through the kubari
into
all
the space
back of the
opening there
the
flowers are firmly
When you have
filled
is
wedged
flowers
until
up and the
in place.
finished placing the flowers
in the vase, sit at a distance
and
look your arrangement over.
First observe
the balance of the
The top
carefully
Heaven
must be directly over its base and Earth must
balance Man, though not on the same level.
If
you
find
seems a
placed
it
lines.
of
Heaven, or the central branch,
little
out of position after you have
in the vase
and appears as
follows
[6s]
turn the kubari in the vase a
right or left as the case
Then
may
little
to the
require.
see that the stems are all together
at the base for about four inches.
absolutely necessary in order to
This
is
make the
few cut flowers seem one whole and growing
plant.
The
stems, in keeping close together
and appearing
as one,
form the parent stalk
and give strength to the whole arrangement.
This also is its most Japanese characteristic,
the feature wherein the Japanese arrange-
[64]
a*
*£
-•a
%
j_
Three Sprays of Magnolia
Three Sprays oj Camelia with only One Blossom
p\ IP.
1
Three Chrysanthemums
Any
Three Sprays of Flowers growing in Clusters
may be arranged as these
\
ARRANGEMENT
ments most
HIGH VASE
from those of
differ
The
countries.
IN
rest of us only
all
other
show the tops
of plants or just the flower itself in arranging
Japanese show the whole
flowers, while the
from
growth
ground up to
where the plant leaves the
its tip.
determine the proper distance for which
To
the branches should be kept together to form
the
parent
eye
has
become trained
recognizing
hold
it,
hand about
shown
the
until
stalk,
in the cut.
your
stems
the
in
as
Then take
the line from above the forefinger
to the surface of the
water.
No two
branches must be
exactly the
same height or
They should
point in the same direction.
all
turn upward at their tips to give a sense
of aspiration, of the stretching
heavenward
of the plant's growth.
Next cut
off
all
ill-placed or superfluous
twigs, leaves, or flowers.
By
this
is
meant
[73]
where one
leaf
hides
another (cut
where one twig crosses another,
You must have
2.
every flower,
twig so arranged that
it
i)
or
as in cut
and
leaf,
shows plainly
its
Cot erf both
No. 2
own
lines,
foliage,
or
must not
No.
I
but in no way hides the flowers,
line
of
any other
recklessly at
first,
part.
You
cut off foliage
or flowers which seem out of place but wait
your flowers are
until
Then take time
leaf
must be
result
[74]
this
put
in deciding
sacrificed.
depends entirely
which
all
cutting
is
in
the vase.
which flower or
The beauty of the
upon the manner in
done.
When
rightly
ARRANGEMENT
done each
flower, twig,
clear-cut
in
appears
IN
full;
outlines
but
HIGH VASE
and
leaf stands
and the arrangement
heedlessly done
if
out
and the
wrong parts are sacrificed, it appears poor
and scant, although there may be no confusion of line or actual faults.
This
is
a very
important part of flower arrangement and
only great care and practise will bring about
the proper result.
it
at first appears,
It
is
not so
difficult as
however.
Every arrangement of flowers should have
some buds, some half-open flowers, and some
fully open ones.
Use the half-opened for
Heaven, the full-blown for Man, and the
bud
you have two full-blown
use one high and the other low and
for Earth.
flowers,
If
arrange a leaf just above the one in the
lower
position,
half
covering
it.
This
is
because flowers blooming under leaves are
considered In or feminine, and take the
lower places.
Do
not forget that while
it is
allowable for
down toward the earth,
ends they must be bent up toward
branches to bend
at their
[75]
Tips which
Heaven.
be
cannot
bend up must be cut off.
A flower must always have a
This
is
is
leaf near
Without the aid of a
needs and soon withers.
1
and
76]
it.
but the leaf acts as a waterleaf a flower
incapable of getting enough water for
flower
to
not only to enhance the beauty of
the flower,
sucker.
made
leaf
its
This applies where
grow on the same stem.
CHAPTER FIVE
THE TWO PRINCIPAL FORMS OR
STYLES USED IN FLOWER
ARRANGEMENT
and Yo are the names of the two
IN
styles in
one or the other of which every
Japanese arrangement must be made.
In
to
the
Yo
the
is
is
female
style.
It
has
Earth
right.
the male and has Earth to the
These statements
may
with the diagrams, but
it
left.
not seem to agree
should be remem-
bered that the Japanese put themselves in
the place of the vase, and in this book
directions
are
given
from
the
Japanese
standpoint.
Outside of Japan, where
many meanings
and symbolisms are attached to the sex of
the style, it will not matter which arrangement you make, except for consideration of
[77]
the space your flowers are to be placed
When
in.
they are not to be placed in the center
of a mantel-shelf or table but at one side,
Earth
"Yo"
should
or
towards
project
Otherwise
space, not towards the end.
natural
the
sex
Heaven
decidedly
curves
of your
or
of
the
flowers
arrangement.
central
In
widest
" In " or female
male
the
the
bend,
flower has
make
a
let
decide
So that
if
naturally a
feminine
rangement, with Earth going to the
ar-
right.
Or should Heaven have a natural curve
in the opposite direction,
i?8}
put
Earth to the
PRINCIPLE FORMS OR STYLES
left
in
left-sided
the
hollow
and make a male or
arrangement.
Earth's lateral bend
is
due to the need of
such a line to balance the curve of Heaven
in the opposite direction.
\79\
CHAPTER SIX
TO
MAKE AN ARRANGEMENT
OF
FIVE FLOWERS
ARRANGEMENTS
branches
are
of five flowers or
called
Gogyo.
They
should be arranged like the cut.
No.
i
represents Heaven.
No. 2 represents Man.
No.
5 represents Earth.
But they are placed in the arrangement
as they are numbered; No. 3 and No. 4
being attributes to Heaven and
Forming "Steps"
In
If the
if
"Dan"
some arrangements you can make the
flowers
or
or
Man.
form "dan" or "steps,"
branches have
many
like
this:
flowers or leaves,
you are arranging numbers of branches
together, then put the greater part of the
[80}
ARRANGEMENT OF
flowers
or
leaves,
as
FIVE FLOWERS
the case
may
be,
in
the encircled place in the right-hand figure
in the diagram.
This
the arrangement and
this style of
is
is
the main body of
called do.
Never use
arrangement with three flowers.
[8i]
CHAPTER SEVEN
HOW TO ARRANGE FIVE
CHRYSANTHEMUMS
SELECT
the flowers most graceful in
Heaven and Man, which
here be No. 3 for Heaven
shape for
would
and No.
1
for
Man, with No.
5 for Earth,
leaving Nos. 2 and 4 as tasuke or attributes.
The
tasuke should never be taken from the
most
material
striking
or
most
must be used
flowers, for those
beautiful
in the
more
prominent positions of Heaven, Man, and
Earth.
Heaven should have a
turning a
trifle
fully
or
a
bud.
flower,
towards the back, so as to
reveal the back of the flower.
Heaven can be
opened
The
tasuke of
either a half-opened
For
Man
use
flower or a full-blown one.
a
flower
half-opened
Earth should
be full-blown and should be faced straight
[82]
TO ARRANGE FIVE CHRYSANTHEMUMS
upwards.
One
of the five flowers should
be
behind the leaves. This naturally
will be
one of the tasuke, as No. 2 in the
cut, showing the five
chrysanthemums arrangement
completed.
183]
CHAPTER EIGHT
RULES FOR BENDING FLOWERS
AND BRANCHES
BENDING
the flowers and
into the shapes desired
portant
ment,
and
which
this
part
of
is
branches
a very im-
Japanese
arrange-
many methods by
bending may be accomplished.
there
are
Flowers Bent by
Hand
Most flowers and slender branches can be
bent by the pressure and heat of the hand.
In so doing take care that you bring the
pressure to bear between sections, not at the
joints.
Hold
in the cut.
[84]
flowers in your
hand as shown
Put thumbs underneath the stem
BENDING FLOWERS AND BRANCHES
and the
and second fingers above. The
thumbs must be kept close together while
you bend, as the stems will break if the
first
thumbs are separated. Bend the stem into
proper shape by pressing up with the thumbs
and pulling down with the first and second
Try
fingers.
bend.
to twist the stem a
trifle
as
you
Do
not hold the pressure too long on
any one part of the stem, but keep the fingers
moving along the stem back and
distance of the desired curve.
branches
will
will
forth for the
All flowers
and
be found easier to bend and
hold their curves better
if,
before arrang-
they are placed in deep water in tubs or
pitchers, for over night if possible;
always
for one hour at least before arranging.
The
ing,
chill
taken
off the
water
will also
make the
stems more pliable.
To Bend Larger Stems of a Woody Nature
also
These
large,
Small Branches
tough
branches
can
some-
times be bent by hand pressure, especially
branches of spring blossoms, such as the
[8f]
:
fruit
and
blossoms
The branch
the
to be bent
flowering
is
shrubs.
held in the palms
of one's hands like this
Another
branch
for
method
tie
down
the
twelve hours, or attach weights
to branches as
Branches
to
is
shown on the opposite page.
may
be bent until they break
if
the broken part comes beneath the surface
of the water,
injured on
but the bark must not be
any part
visible
above the water.
Branches can also be bent over the knee.
The
is
last resort
to use wedges,
[86]
with an obstinate branch
which
is
seldom done except
BENDING FLOWERS AND BRANCHES
by the school of Enshiu-Ryu; but by
use very large branches
one wishes.
It
is
done
may
their
be curved as
in this
way on
the
opposite side from which you wish the branch
to curve.
cut.)
Make
incisions with a saw.
Then cut out wedge-shaped
(See
pieces from
another branch; thus:
v v v
forming pieces
like this
[*7]
Then open the incisions and put in wedges,
and force them down level with the bark of
the branch.
Another way to
stinate branch
facilitate
is first
to heat
bending an obit
at the place
where the bend should come, then bend by
wrapping
it
with paper dipped in vinegar
over the heated spot.
Bending of Leaves
By this is meant the turning over of leaves so
that their backs may be seen. For this use only
the fingers dipped in water.
fodil, narcissus,
[58]
and
iris
is
The
foliage of daf-
bent in this way.
CHAPTER NINE
WATER-GROWING BULBS AND ALL
ARRANGEMENTS MADE IN LOW
BROAD RECEPTACLES
LEAD
and metal flower holders
are used in place of the wooden supports for water-growing plants, and
rings
always in the
holders
are
low receptacles.
flat,
made
many
in
These
shapes and of
and bronze. The commonest are
of lead, usually of two or three circles, each
forming openings for the flowers; and in the
lead, iron,
shape of
holder
is
turtles,
etc.
fish,
An
attractive
a bronze crab holding the group
of flowers in his claws at one side of the
receptacle.
The
finger openings of the scissors used for
cutting flowers
may
holder
when no
metal
chain
also
other
placed
is
be employed as a
to
around
be had.
the
Or a
group of
[89]
flowers
and
tied
in
a loose knot with the
ends pulled out makes an excellent holder.
Use your own ingenuity and see
if
you
cannot find amongst your possessions some-
thing which can be utilized.
You
could not
better succeed in pleasing the Japanese than
by happening on some form of holder never
used by them.
Before you
commence remember
that you
are not merely trying to arrange a group of
flowers suitable to the low vase,
will
appear well
in
it,
and which
but that you are
endeavoring to represent the conditions in
which the plant
[go]
grew.
Should
the
plant
WATER-GROWING BULBS
have been growing
its
natural
habitat,
in or near the
make
water in
the flowers
and
leaves occupy the smaller part of the vase
at side or corner and the water predominate.
£3
<$3
This gives the refreshment of the actual
out-of-doors in the locality where the plant
was growing.
When
them
ready to arrange the flowers, select
as before, according to the three prin-
ciples of
Heaven, Man, and Earth.
these
vases
flat
it is
tion in the groups.
Man
Man
better to
make a
But
in
separa-
Put your Heaven and
in
one opening of the holder, placing
in
front of Heaven,
and Earth
in
an
opening by
itself,
with at least one open-
ing intervening between
group.
it
and the Heaven
This better represents the growth
of water plants in clumps or clusters.
These
lead rings were devised with the idea of leaving openings between the groups of flowers
t
=vJ
so that the gold fish, so frequently used with
the water arrangements, could
swim
in
and
out beneath the cool shade of the leaves.
[92]
rr-^TjT
Simple Arrangement oj Iris
-7
•a
Arrangement
oj Yellow Lilies
and Reed Grasses
Arrangement oj Three
Irises
7
V
9
»»
7
Water Arrangement showing
Iris
and Grasses
Different
Ways
oj grouping Iris Leaves
ik
^z.
$t
5+
%
Simple Arrangement of Leaves
TILC
h&*
Water Arrangement. Showing how a branch may touch
the water but must come out again turning upward
rrangemeni o/
Common
Ke
ou Lily
//
,
WATER-GROWING BULBS
Such openings
left
sakana-micbi, or
for the fish are
fish
known
as
highways.
not correct in these arrangements to
any of the groups hang over the edge
It is
let
of the vase.
The edge
is
considered as the
frame of the picture, and nothing should
be allowed to pass beyond it. A branch or
spray in these water-growing arrangements
may, however, bend over and touch the
water, pass under
it,
and come out again,
pointing upwards.
Flowers Arranged in Holders are Easier
Jor a Beginner
The
up of itself, and after
the vase you can at once begin
holder stands
placing
it
work.
Then, too, the
in
lines in these arrange-
ments are more simple and upright and are
arranged according to relative height and position, only very little bending being required.
To my
thinking there
no arrangement of
flowers more beautiful than these in the low
vases,
is
and nothing can be accomplished more
quickly.
[iog]
This style of Japanese flower arrangement
easily
is
tion.
low,
adapted to Western table decora-
There
broad
is
no end to their variety.
proportions
of
these
The
arrange-
ments make them more suitable than the
high groups generally used, cutting off those
seated on one side of the table from those
on the
other,
which
is
not
conducive
to
conversation.
In these
will
flat,
make an
open vases even a few grasses
Use
attractive arrangement.
perhaps nine grasses for your Heaven, seven
for
Man, and
five
or three for Earth.
you are unable to get any sedge or
[no]
If
reeds,
WATER-GROWING BULBS
which would naturally grow at the water's
edge, use the foliage of daffodils or narcissi,
and you
will find the result as pleasing as if
you had used
flowers.
In these vases stones and rocks used to
simulate a river bed make an effective deco-
ration.
On
bottom of the vase place
the
small stones fitted together closely so that
the bottom is hidden. On top of these small
stones place three quite large ones; one, as
with the flowers, representing the Heaven
element, the second that of
third
the
something
and
Man
stone at a
Earth.
like
stones
little
The
these.
Man, and the
stones
Place
should
the
be
Heaven
near together, the Earth
distance,
spacing like the
lui]
water-growing plants.
A
bit of
moss on the
tops of these stones, or a tiny bit of cedar or
hemlock trimmed into a tree shape and put
at the side of the tallest or
Heaven rock,
makes a charming arrangement when no
flowers are to be had.
[112]
CHAPTER TEN
ARRANGEMENT OF BRANCHES
NO
more
charming
in
branches
satisfactory
results
more
or
effects
can be had than
working out Japanese rules with
Here, as
of trees.
in
other
all
arrangements, the Japanese prefer to follow
nature.
We, not
much from
so
as lack of thought
ignorance
and time, take branches
from trees where they have been growing
a horizontal position and place them
in
in
a
vase in a perpendicular one, with the leaves
standing up and facing to the front instead
of flat
and spreading
as
Japanese have, of necessity, to
stick stand upright.
The
they grew.
let
the main
In this position
it
forms
the trunk of the tree, and the smaller twigs
are twisted into the form of
thus
making a small
its
branch of
appear as a whole diminutive
branches,
the
tree
tree.
[113]
Branches are much used by the Japanese,
them
unlike us, they consider
for,
and
use
them
for
their
most
as flowers
important
arrangements.
To Put a Large Branch
into a
Vase
without a Support
Take any well-shaped branch
fruit
maples, or
trees,
either
from
evergreens and you
you can make an attractive arrange-
will find
ment by placing one such large branch in
a vase without any trimming or support,
provided
you bring the branch
that
By
balance.
perfect
summit
the extreme
directly over its base.
the branch
will fall
is
over to one
split
base,
it falls
of the branch
that
must be
Often, however,
when
side,
thus
it
— forming no
and usually tipping over the
out of balance.
If this occurs,
the end for three or four inches at the
bend one
other to the
tightly
[
we mean
merely thrust into the vase,
attractive lines
vase as
this
into
split
left
right
and the
until these cut ends press
on opposite
114]
to the
sides of the vase,
and so
"7
Pine Branch
Plum Branch
I:
Sf:
Pine
ano?
P/um
ARRANGEMENT OF BRANCHES
hold the branch firmly in proper position.
When
the branch
is
too large and tough to
admit of your bending back these
split
ends
with your hands, put a stick into the opening
to force
it
apart, as
shown
in the cut.
These branch arrangements
make most
they
be found to
striking decorations in
large proportions.
more
will
They
will
rooms of
be found
much
satisfactory than floral decorations,
will out-last
and
them.
I
121]
CHAPTER ELEVEN
MAKING ONE BRANCH JOINED AT
THE BASE SERVE FOR WHOLE
ARRANGEMENT
T
AKE
"cut
off here
aside
[
saw
in
for
122]
a branch like the illustration and
off the
branch where
it
divides
two at the base at place marked
for
Man.
Man
branch."
Lay
Where the branches
this
join
SYSTEM OF ARRANGEMENT
at
the top and are
marked "cut
off
for
Earth," saw off there to form your Earth.
The
three
branches,
when cut
accord-
off
ing to directions, form the shapes
shown
the illustration.
[
123]
in
CHAPTER TWELVE
HOW TO SUGGEST THE SEASON
OF THE YEAR IN FLOWER
ARRANGEMENT
THE
Japanese describe the growth of
the plant from flower to fruit as the
moving of the plant
and from
to leaf
soul from flower
leaf to fruit, according to
the four seasons of the year.
soul
in the flowers, in
is
leaves,
and
in
autumn
while in winter
it
it
In spring the
summer
it' is
in the
comes into the
fruit,
spreads into the branches.
Spring Arrangement of Flowers
In the spring
and spreading.
slightly
the
let
your
flowers
Have some branches bending
toward the front and others toward
back.
Heaven
is
always upright, but
with the branches representing
[124]
be loose
Man
let
some
r
A
March Arrangement showing
of
High Wind
Influence
r
i
•
%
*
An
Arrangement
suitable jor
when Winds
are
February or March
High
point
Do
with the Earth sprays.
this also
Let
and others backward.
forward
Midzu-giwa
the
base where
— the
appear as one stalk
— be
shortening of this
part of the arrangement makes
spreading, as
all
The amount
plant
about three
short,
The
inches or so in length.
life is
it
look
and
of water put into the vase
when the streams
filled
full
at that season.
regulated according to the season.
vases are
at the
must unite and
the stems
all
place
are
full
to the brim.
to
is
In spring,
overflowing,
The Japanese
put wax on the edges of the vase, so that
the water can go over the rim at this season
and look as
actually
if it
were overflowing, yet not
spill.
Summer Arrangement
In
summer
use
great abundance.
water
young green leaves in
Cut leaves off near the
in order to give a cool effect.
Make
the Midzu-giwa shorter than at any
other season,
about two
inches
and make your arrangement very
in
length
full
[
and
I2Q]
Bring as
spreading.
much
bend of your branches as
variety into the
Shallow
possible.
vases, with a wide expanse of water, are
most
used at this season.
Autumn Arrangement
In
autumn use a few golden
or yellow leaves
your arrangement, to suggest the harvest
in
time.
Make
your arrangements
less
full,
using
fewer sprays and branches.
The Midzu-giwa becomes
four inches;
for at this
beginning to
fall
longer,
about
time the leaves are
from the trees and one sees
more of the trunk and branches.
The Japanese
tell
us to
make
at this sea-
son an arrangement expressing serenity and
peace.
By
this
they mean that
we should
make a simpler arrangement than in spring
or summer and give more attention to
beauty of
line
than foliage or flowers.
Winter Arrangement
In winter arrange flowers with few curves.
Make your
[
130]
sprays or branches more
flat.
Do
Man
and Earth sprays
but when bending them away
not bring the
to the front,
from the center spray
slightly
Each
bend
them rather
backward.
must stand out as
line
the branches of a tree in winter.
have a sparser growth at
foliage has entirely
of the tree
Midzu-giwa
is
is
other season.
this
clear-cut as
All plants
time.
The
gone now and the trunk
seen to a greater height, so the
longer in winter than at
It
should
now be
any
five inches
in length.
['*']
CHAPTER THIRTEEN
FLOWERS IN HANGING RECEPTACLES
VINEShanging
of
all varieties
in
their
advantage
position
vase
it
is
should be placed
as the nature
vases,
of
growth can be shown to better
way.
in this
A
vine in an upright
very unnatural, but in a hanging
can
fall
over the edge as though
it
were creeping over a rock or clinging to the
Only the short and unimporside of a hill.
tant ends are allowed to go upright.
Arrangements are made
in
hanging vases
according to the same principles of Heaven,
Man, and
est
it
Earth.
Heaven
is
still
the long-
branch or spray, only in these receptacles
hangs down instead of standing upright.
This
is
because the character of vines
is
to
droop, and Heaven, the most important ele-
ment of the group in flower arrangements,
must always indicate in its lines the natural
growth of the plant.
[132}
First ten days
Secorid ten days
Third
ten
days
Arrangement of Morning Glories in Hanging Vase
_
,
e
+•&
Hanging Moon
Hooked Vase
Out-going Boat
Standard Arrangement
Incoming or Boat of Good Fortune
Sitting Boat going
Hanging Bloom
AW
/,/
7
/
/ /
7
K/
Morning
Glories in
Hanging Boat
&
Sitting Boat at
Anchor
Boat
Bow
on with Iris
IOX
T1L.D
.
—
———
^^-1
AND
ION8.
^Mr-.-
FLOWERS IN HANGING RECEPTACLES
Notice the illustration of an arrangement
of morning
Morning
glories.
glories should
never have more than one or two
full,
open
flowers.
One
of the most popular and beautiful of
the hanging arrangements
that done in a
is
crescent-shaped vase so as to show the date
of the month.
The first day of the month
starts with a long streamer hanging out
in
front
on the left-hand
illustration.
day
side, as
This streamer
until the
is
shown
in the
shortened each
tenth of the month,
new long streamer
is
there shortened each
put in at
day
when a
the back and
until the twentieth,
when the streamer again comes
to the front;
but for the
at the right-
hand
last ten
days
it
is
side.
The boat
in its various
perfectly described
a few examples of
Tree
vases.
flowers
forms has been so
by Mr. Conder that only
it
are given here.
branches are also used in hanging
Trees being of higher growth than
and shrubs,
it
should be placed high.
is
proper that they
When on
rations
the vase
or
of flowers
arranged in
it
itself
a
poem, the sprays
should be so placed as to hide
none of the decorations.
the hanging vase
between the
there are deco-
is
ceiling
The
nail
on which
hung must be halfway
and
floor.
The
longest
streamer must stop within three inches of
the
floor.
['S8\
CHAPTER FOURTEEN
ASHIRAI
ONE
of the loveliest features in flower
arrangement
it is
master.
also
It is
is
known
as
one of the most
Ashirai;
difficult to
the placing at the base of the
arrangement a flower of a different variety
from that used in the main arrangement.
A
flower
is
frequently arranged in this
way
at the base of a tree arrangement, simulat-
up at the root of a
tree.
I give here an example of forsythia
arranged with an Ashirai of camelia.
ing a flower springing
The
Ashirai should be placed slightly to
one side or a
ment.
trifle
behind the main arrange-
By no means must
arrangement
in
front,
it
cross the
by any of
its
main
leaves,
The Ashirai and
the main
arrangement should be separate and
distinct,
flowers, or branches.
each perfect and complete without the other.
[159]
ASHIRAI
The
Ashirai must not be too close to the
main arrangement nor too widely separated,
but what the Japanese
arated; then the effect
If,
call
"ideally" sep-
exquisite.
is
as often happens after
you have
finished
an arrangement of shrubs or tree branches,
it
appears rather blank and "lonely" near
the water, add Ashirai and the result will be
charming.
How
As the
to
Arrange Ashirai
original groups
have been already
placed in the support and
No.
the Ashirai
is
fill
it
i
completely,
No. 2
placed outside the support and
the end of each stem split at the base and
turned back as shown in the cut.
[160]
This holds
Showing bow a Branch with Ashirai may
without a Support
be arranged
y
Ashirai Arrangement oj Pine
Bamboo and Chrysanthemum
*\
4
ft
A
4
co
I
»
<t
Sfi// another
Arrangement oj Asbirai
ASHIRAI
Another excellent Ashirai
the Ashirai firmly.
support
is
like the kubari
already shown.
ment
in
with three prongs
In this the
main arrange-
placed in one side and the Ashirai
is
the other, as shown in the illustrations
on page 160.
Ashirai in a water arrangement.
When an
combined with a flower arrangement made in a low, flat vase, the main
Ashirai
is
No. 3
arrangement need have no Earth or lowest
but Earth
branch,
will
be formed by the
Ashirai.
No.
i
represents Ashirai badly arranged,
[i67
]
because two leaves and a flower prevent us
from a
No.
full
front view of the
2 represents Ashirai
main stem.
No. 3 Ashirai
is
main stem.
too close to the
"ideally" arranged.
being separate and distinct, the effect
rable.
The
leaves behind the flower
is
It
admi-
marked
by a long line at the right of the arrangement render the whole thing very effective.
in
There should always be these leaves
an Ashirai arrangement.
U68]
Ashirai arranged in Three-pronged Kuhari
CHAPTER FIFTEEN
FLOWERS ARRANGED ACCORDING TO
SHAPES OF VASES
WHEN
the vase
round or oval,
form an imaginary square in it
shown
is
and draw
out the branches from the upper two angles;
as
that
is,
in the figure
the branches are placed as always
in the center of the
vase, but their upper
ends are bent back towards the corners.
If the
vase
onal, place
is
square, hexagonal, or octag-
one of the angles
in front
draw out the branches from the
sides,
and
not
[171]
SHAPES OF VASES
But
from the angles.
if
is
a low
the
sides
the vase
square or parallelogram, one
of
comes to the front and the branches are
drawn from the
angles.
Proportion of the Height oj Flowers
Vase
the
If
the vase
to
a foot high, the flower in
is
it
should be a foot and a half high, or once
and a
half the
height of a flower
of
Heaven
In low,
height
is
of the
vase.
The
measured from the top
to the water.
flat
vases the diameter
is
taken
and the height of the highest flower must
be once and a half the diameter.
In flower vases placed on a stand measure
the height of the vase, including the stand,
and, as in other cases,
and a
[
half the height.
172]
make
the flowers once
CHAPTER SIXTEEN
FLOWERS BLOOMING IN AND OUT
OF SEASON
Japan flowers which bloom in their
proper season are the most highly es-
IN
teemed and
suitable
in
for
gifts.
are
the most
considered
When
flowers
blooming
season are arranged with flowers which
have been forced into bloom
in
advance of
or kept after their usual time of blossom, the
seasonable flowers will always take the highest positions.
Heaven and
Man
will
be made
of the seasonable flowers, and only
may
Earth
be of those blooming out of their time.
Flowers
blooming
out
of
season
would
never be chosen for a present by a Japanese nor used as decorations for an entertain-
ment.
In
fact
a Japanese never attaches
any value to flowers or
fruit
forced out of
their proper season; strawberries in
January
\.m\
have
no
charms
for
him.
In
presenting
flowers to a friend they always send
buds, so that the friend
may
them
in
experience the
pleasure of seeing the flowers open in his
own home; and
tree
a branch of a non-flowering
would be given while
its
leaves
were
forming, so that the pleasure of watching the
leaves unfold would not be lost.
[i74]
/
Arrangement of Plum Blossoms.
The upper section of
and is supposed to
the vase is filled with water only,
represent the reflection of the
moon
4-
^*~—*=* ^*
.v
— -r*|
Three-sectioned Vase with Wistaria
and
Iris
CHAPTER SEVENTEEN
HOW TO ARRANGE FLOWERS IN A
VASE OF
TREES
MANY
are
or
yo,
all
when they
SECTIONS
masculine,
so
are arranged with any-
thing else they must be above, while
grasses
and
put down
flowers,
being feminine, can be
in the lower parts of the arrange-
But when your vase
ment.
is
a hanging one,
a many-sectioned vase or a double bucket,
you may arrange grasses high and trees low.
This
often
is
because such an arrangement
supposed
to
look
like
which has grass growing on
at
its
foot
A poem
dear to
all
and
its
a
is
mountain,
top and trees
in the valleys.
comes to mind here which
is
very
lovers of Ike-bana:
Musashi no
ni
Kusa makura shite
Nagamure ba, Fuji yori
takaki
Tokonatsu no hanna.
[i79]
"
MANY SECTIONS
VASE OF
"Upon Musashino
pillow of grass,
but
—
it
and
I
prairie
lie
I
with a
see a little wild pink,
looks higher than Fuji.
In arranging flowers in a three-sectioned
vase the
idea
this:
is
the flowers placed
in the highest section should
be plants which
would grow on a mountain top;
section
in the next
upland-growing plants, and
in
the
lowest place, valley or water-growing plants,
for
the last section represents also sea or
lake level.
Thus plants of
all
altitudes can
be brought together in one vase.
may
be changed,
but
the
This order
three-sectioned
vase was originated to carry out this idea.
Trees are sometimes placed in the highest
division, as trees
do grow on mountain tops.
In a vase of two divisions
like the
illustrated,
only the lower opening
The upper
place
is
with water
is
filled
is
is
one
used.
very shallow and when
left
without flowers and
supposed to represent the reflected moon.
[•so]
Three Aspidistra Leaves
Five Aspidistra Leaves
\
*
*
Seven Aspidistra Leaves
>s
1
Nine Aspidistra Leaves
\
T
Showing bow Leaves must
Seven Aspidistra Leaves.
Groups over Nigbt
Showing how desirable a
be tied in
torn leaf is considered
CHAPTER EIGHTEEN
WHEN FLOWERS ALONE MAY BE
USED AND WHEN LEAVES ONLY
THE
is
best form in flower
to have both flowers
arrangement
and
leaves;
but there are flowers which may be
arranged alone. These are the flowers on
which the leaves come first and go before
the flower blooms.
cipally
In Japan these are prin-
natsu suisen, or
and a red wild flower
flowers
may
summer
called
narcissus,
shiba.
Such
be arranged without leaves.
In the case of the trees and shrubs which
come
into blossom before they leaf, as our
cherry, the prominent parts of the arrange-
ment, Heaven and Man, should be blossoms,
and the leaves put in only for Earth. If it
is an arrangement where attributes are used,
make them of the leaves and have the
[191]
three main principles of Heaven,
Man, and
Earth of the blossoms.
When
a plant or tree
leafs
out before blos-
must predominate
soming, then the leaves
in
an arrangement which should have only
a
few blossoms,
and these placed
in
the
unimportant places.
For arrangements of leaves only, baran
we
or aspidistra as
It
can be had at
all
call
it
—
is
much
can be made so distinct with
slender
leaves.
used.
seasons and makes one
of the most perfect arrangements,
lines
—
They
are
also
as
the
its
long,
easily
bent
with the hand.
You
see that in nearly
will
ments of aspidistra one
This
is
is
curled
is
supposed to contain an
leaf that
ered
leaf
insect.
wormeaten or torn
and
desirable
nature
a
plant
is
up.
One
consid-
thought to make the
arrangement more natural, as there
in
arrange-
all
without
is
seldom
one imperfect
leaf.
Working with
tise for
[192]
aspidistra
a beginner.
is
excellent prac-
Its leaves,
being easily
FLOWERS ALONE MAY BE USED
bent, do not require such patience to bring
and the stems are
into the correct curves,
In
readily brought together at the base.
arrangement
faults are quickly recog-
also,
Therefore
nized and easily corrected.
many
different
its
I
give
examples of arrangements of
aspidistra.
It
all
is
arranged on the same principles as
other plants, but with
that
will
find
folds
around
its
two should be
shown
Heaven
it
you
usually
attribute.
These
tied together, as
in the cut below,
and
left
tied over night.
The
curled
leaf
made by
is
putting the extreme point of the
around a small stem and
rolling it up in the palms of
leaf
your hands
Then
roll.
let
a few
for
go of
it;
Should you
small, roll
as
this
wish
tight
minutes.
as
will
make
a loose
tight
and
possible, then
pull
it
very
the stick out and put a pin or two through
The pins may be
to hold the curl in place.
[
193]
left in
the
over night and will in no
injure
leaf.
Aspidistra
is
one of the few plants ar-
ranged not entirely according to
growth,
but
the
improved upon
[
way
194]
—
nature
of
its
its
natural
growth
art here aiding nature.
is
CHAPTER NINETEEN
SEX IN FLOWERS AND TREES
Japanese are fond of applying a
distinction of sex to inanimate things.
THE
They
and
distinguish between male
female
female rocks and stones, male and
waterfalls,
and
etc.,
same
this
distinction
out in flower arrangement. All
to the
flowers and grasses in general belong
while the trees belong to
female sex
xn
is
carried
—
_
the yo or male.
These distinctions are also
flowers.
applied between different forms of
The buds
perfect
are
flowers
female;
are
and
male;
and
opened
fully
the
over-
blown and withered again return to female.
They even distinguish between the front
and the back of
leaves,
a contrast of color.
though
The
front of a leaf
male and the back female.
grow together, as shown
merely
it is
in
If
two
the
is
leaves
cut,
the
[195]
outside leaf
masculine and the inside
is
is
feminine.
Leaves growing
while
sunny
the
in the
shade gain
becomes
side
luster,
Iusterless;
then the side of the leaf in the shade with
luster
is
in
and the
duller side yo.
Flowers
shaded by another flower or leaf are also
This
may seem
in.
merely a poetic fancy, but
much common-sense
back of these appar-
is
and one
ently whimsical ideas,
finds
that
the turning of the leaves to different sides
gives as
much
freshness
and variety as turn-
ing the flowers in different directions.
ing such
feeling
distinctions
and helps
in
gives
Apply-
expression and
producing the
effect of
a growing plant.
When
[, 9 6]
a flower by
its
form, or a leaf by
SEX IN FLOWERS AND TREES
the
side
line,
it
presented,
mascu-
the
represents
can be put in a more conspicuous
place than a flower or leaf which
feminine
is
— with the exception of buds, which, though
feminine,
must
in
most cases be placed in
the top of the arrangement, as that
natural
way
is
the
the plant grows.
Follow the nature of your flower's growth,
and
if
it
buds
open flower
above
it.
leaves,
as a
always
in.
for
This
bud
at
the
top
have a
half-
Heaven, with a tiny bud
bud should be
free
from
or flower behind a leaf
is
The Man branch should almost always be
made of the full-blown flower, unless the
flowers are very large.
peony, always put the
in the lowest or
is
In such cases, as the
fullest
blown flower
The peony
Earth position.
so heavy that a long stem
would droop
bad shape with a fully opened flower,
whereas the short stem of Earth will hold
into
it in
position.
These rules are very
tion,
flexible
in
applica-
and whenever you are uncertain,
[
fol-
197}
low the natural growth of the plant from
which your flowers have been gathered. If
given you and you
the flowers have been
are ignorant of their natural tendency, bear
mind that variety is one of your chief
If you have only three flowers, do
aims.
not put the bud at the top, the half-open one
for Man, and the full-blown for Earth; but
flower
if you start with a bud, mix up the
in
explained,
As has been already
there are two styles in one or
the other
of
forms in some way.
must
flowers
which every arrangement of
be made. These styles are
by the names of in and
also distinguished
yo.
same
The
of flowers
colors
Purple,
distinction.
are
given
this
red,
pink,
and
variegated colors are classified as masculine,
whereas yellow, white, and blue are feminine.
This
guides
different
one
colors
in
in
arranging
and
highest
The one exception
flowers.
White
position
to
flowers
hold the highest rank.
[i 9 8]
of
the same vase, the mas-
culine colors always taking the
tant
flowers
this
of
in
most importhe
rule
every
is
group.
white
variety
[
199]
CHAPTER TWENTY
JAPANESE FLOWER VASES
ALTHOUGH
the
Japanese have not
as large a flora as other countries,
they have above
all
others a greater
beauty and variety of flower receptacles.
These are not only beautiful
rial,
and
design, but are
in form,
made
mate-
for the use to
which they are put; so that a flower can
ways be placed
and probably
in
in
al-
an appropriate receptacle,
one especially designed
for
that particular sort of flower.
Their love of the beautiful, however, does
not cause them to overlook the practical in
these vases,
what
and they most seek
will best
prolong the
in their shapes
life
of flowers.
For this reason their vases are wide open
at the mouth, for they do not depend
the vase
itself,
position, having
ic
200
]
as
we
upon
do, to hold flowers in
found that the oxygen enter-
•1V
f
Flower Basket oj Split Bamboo
ing through the neck opening
to the plant as the oxygen
as necessary
is
it
receives from
the depths of the water; thus also the water
remains sweet
much
longer than in our small-
necked vases, where
so quickly
it
becomes
foul.
Many
are
the odd and
fanciful
signifi-
cances connected with these Japanese receptacles.
For instance, the hanging vases so
numerous and quaint
in
form came into use
through the idea that flowers presented by
an esteemed
friend
should
not
be placed
where they could be looked down upon, so
they were raised
and hung.
hanging bamboo vases the
face
on top
is
supposed
moon, and the hole
The
cut, or opening,
for
And
large,
to
the
in the
round sur-
represent
nail
below the top
the
a star.
is
called
Jukumuki the "wind drawing through place.'*
The low, flat vases, more used in summer
than winter, not only give variety in the
form of receptacles, but, as with vines and
hanging vases, make
it
possible to arrange
plants of bulbous and water growth in nat-
[203]
The standard vases are the
most common, for in them all arrangements
ural positions.
of flowers, except aquatics and creepers, are
They
placed.
and variety
alone outnumber
beauty
in
forms of our flower vases
all
combined.
Again,
when we come
of the Japanese vases,
never
their
the
soft
more
we can only admire
taste
failing
show
the choice of
in
Could
shades.
pastel
clearly
to consider the color
This to them
bronze?
for
seems most
mother earth
therefore best, as
than
their perfect taste
their preference
like
anything
it is,
and
in color,
to enhance the beauty
of flowers instead of detracting from their
exquisite shades.
glitter
What a
and show of our
represent generally
The bamboo,
contrast to the
silver vases,
little else
which
but their
cost.
in its simplicity of line
and
neutral color,
makes a vase always charm-
ing but, alas!
not practical in this country,
where our steam heat at once causes
split.
But
pieces
of
[204]
while
vases
made from
bamboo cannot be used
in
it
to
solid
this
—
variety of
made in such
shape from bamboo reeds, with
their color
assuming the
country, the beautiful baskets
soft
brown shades
of mother earth, so perfect an offset for
all
the varied tints of the flowers, are entirely
practical in
Not
any climate.
to be overlooked
vase found
in
is
the tiny hanging
the simple
peasant
some curious root picked up
home
at no cost
and
fashioned into a shape suitable to hold a
single flower or vine.
made with
place
little
anywhere
Such vases could be
by anyone and find
our own land, had we
effort
in
only a keen enough desire to be always sur-
rounded by the beautiful.
After experience with Japanese vases
find
ourselves
selection of
beholding
much more
critical
the
American or European ones and,
all
the delightful forms of Japa-
nese vases depicted in their prints,
most
in
we
we grow
regretful of the scarcity of their impor-
tation into Europe or this country.
[205}
[206]
CHAPTER TWENTY-ONE
PRESERVATIVES FOR FLOWERS AND
TREES
THEhow
Japanese
skilful
arrangement,
one
if
us that no matter
may
one
be
is
in
flower
ignorant
of
keeping the flowers fresh, his
the secret of
skill is
tell
of no avail.
The masters of flower arrangement have
many secret formulas for preservatives revealed only to their pupils on graduation and
some never revealed except on
beds to their successors.
their
The drugs
death-
for
most
of these would be impossible to obtain outside of Japan,
and none of them are
as important as the
the
flowers
arranging as
main Japanese
"must be
to
enough water to
so
tion for a long time."
rule that
prepared
them
keep them in a
enable
to
really
before
suck up
fresh condi-
All their vases are
[207]
made with
This
this object in view.
is
why
they are wide mouthed and so different from
ours of compressed necks; the only means
we have
position
of holding flowers in an upright
is
by tightening our vases
at the
neck.
The Japanese have found
the opening completely
filled
makes the water become
foul
by the stems
and
no oxygen to enter the stems at
The
having
that
also allows
their ends.
placing of the flowers one by one through
the support, keeping the ends of the stems
always an inch or two above the bottom of
the vase, allows the flowers to suck up freely
all
the water they require, while the ends of
our flowers are usually sealed by forcing the
stems tightly against the bottom of the vase.
The Japanese
also
remove
the surface of the water.
to
show the stems uniting
all
This
life
is
below
not only
at the base to form
the parent stalk, but because
to the
foliage
it
adds greatly
of flowers so arranged, since there
are no leaves in the water to cause decomposition,
[208]
which
is
so injurious to plant
life.
TREE AND FLOWER PRESERVATIVES
The
system
preserving
of
and
plants
flowers according to the season of the year
which
in
helpful
they are gathered
for a
long time.
into
three
and
So.
them
making
in
periods
known
divided
is
Shin,
as
very
freshness
retain
This method
Giyo,
Sbin covers the summer months,
Giyo the autumn
June, July, and August;
and
also
is
months,
spring
September,
October,
November, and March, April, and May; So
covers the winter months of December,
January, and February.
The season
the year;
flowers
of Shin
therefore
is
it
a very hot period of
is
necessary for
all
and branches gathered during these
The
months to be kept warm internally.
way to do this is to wrap the stems of the
flowers
of
or branches
bamboo
— leaving
the ends
—
tissue
five
when
in
matting or a husk
paper
or six
will
inches
fast
uncovered at
the flowers are long stemmed,
and two or three inches when
covering
do as well
with string.
pints of boiling water
short.
Tie the
Put into three
fifty-eight
grains of
[209]
Sansho
formula at end of the chap-
(see
When
ter).
this boils hard,
plunge into
it
the uncovered ends of the flower stems and
hold them in the boiling mixture until the
ends
being
whiten,
water,
in
removing the wrappings
warm and
place not too
very
in
a
sheltered from the
Straighten the stalks and keep thus
wind.
for
steam
to
Then plunge
the wrapped portions.
cold
not
careful
about seven hours before arranging.
When
weather
the
way
this is the best
but when
season,
the
is
for preserving flowers,
weather
just to boil
exceptionally hot,
is
normal at
this
the ends of the stems
and then plunge them in very
cold water, will have the same effect. Drugs
until white,
are required only in extreme heat.
and
foliage
must always be
Flowers
carefully
pro-
tected from the steam while being boiled,
then the cold water into which they are then
put should be
The season
it is
in
a deep receptacle.
of Giyo covers the
months when
neither very hot nor very cold,
and
it is
therefore comparatively easy to keep flowers
[210]
But
fresh.
may
be
preserved.
longest
Wrap
as
in
roast the ends of the stems
summer and then
in
know how they
to
well
is
it
a charcoal or coal
fire in
which twenty-nine
grains of Sansho have been put
—
can also
it
be done in a gas or candle flame without
Sansho
—
holding
black and charred,
until
the stems in a wet cloth while burning; then
water for seven or eight hours.
December, January,
In the So period
February, use very cold water to keep
put
in cold
in
flowers
—
water,
Ice
arranging.
before
stream water, or that
kept in a pail over
should be used.
The Japanese say
night
that well water
usually
is
warm
winter,
in
and therefore should not be used unless kept
standing
of
out
doors
for
a
long
time.
Flowers do not require burning during these
cold months;
them stand
all
in
that
is
necessary
is
to let
very cold water as long as
possible before arranging.
A
camelia
may be
kept from turning brown
by putting a few grains of
salt in the center
To keep
a magnolia, split
of each flower.
[211]
the end so (see cut) by cutting and apply-
some dry Sansho
in
the
openings
then put the branch in water
for
made;
two or
three hours.
These simple and well-thought-out methods
do more towards preserving cut flowers than
the complicated drug mixtures which are so
secretly
held back
by the masters;
or,
I
should say, were held, for the teachers today
more
give
liberally
of this knowledge.
In
ancient times the rules for preserving flowers
were completely withheld from the pupils.
A
master would sometimes reveal one rule
or secret at a time to an advanced pupil,
was impossible
but
it
out
all
master's
[212]
for
any student to
find
the rules, unless in the case of the
death,
when
to
a
favorite
pupil
would
the honor of inheriting his name,
fall
and
his pupils,
this for-
who had been chosen
tunate follower,
in the
and instructed with
master's
lifetime
idea of
becoming
edge
To
knowledge.
his
his successor,
all
the
knowl-
would be given, but generally only
by word of mouth.
Formula for Preserving Summer Plants
=
Salt 3 zo =
Sake \ sho =
Mint 20 nomme =
Water
I
sho
bansho
Mogusa
Mustard
Put
all
minutes.
"
three together.
When
I
qt.
i
\ oz.
I
pt.
i\ pt.
58 grains
—
=
=
Let boil for
five
cold pour into stems.
[213]
CHAPTER TWENTY-TWO
THE SCHOOLS OF JAPANESE
FLOWER ARRANGEMENT
I.
IKENOBU.
700 A.D.
Ikenobu was commenced by Onono-Imoko
about thirteen hundred years ago.
the oldest and, to
most beautiful of
The
my
is
thinking, one of the
the schools.
all
Ikenobu was a pupil of Soami.
first
then the teacher of
Since
This
this
school
is
always a priest of the Rokkakudo Temple
Kyoto, where the lore has been handed
in
down from
still
ner.
generation to generation and
being taught in exactly the same man-
The
priest
instruction falls
I
at
is
is
never enjoyed
the
temple
whom
on
my
arrange
more than
There at the
lessons
your
flowers
the guidance of other priests, but
[214]
mantle of
always called Ikenobu.
Rokkakudo Temple.
you
the
under
when
the
SCHOOLS FOR ARRANGEMENT
compositions of the class are nearing completion,
the
Ikenobu
himself
verdict
final
on
appears,
give
arrangement.
every
much bowing and drawing
After
to
in of the
him about,
breath, the entire class follows
stopping with him before each arrangement,
order to profit by the criticisms on the
in
work of every pupil
prefer,
an instructor
temple
to your
course,
will
own
in the
will
be
If
class.
you
sent from the
residence, but
he, of
be an understudy and no one
so important as Ikenobu himself.
This school
and
its
is
a development of Rikkwa,
branches include the schools of
Senki-Ryu
Higashiyama-Ryu
Seizan-Ryu
Enshiu-Ryu
Misho-Ryu
Shogetsudo Ko-Ryu.
Originated by Myoye Shonin.
II.
III.
Ko-Ryu.
Originated
Ishiro.
IV.
1171-1231.
1
by Oun Hoshi
or
Matsune
333-1402.
HlGASHIYAMA JlSHO-IN-RYU.
[275]
Originated by Ashikaga Yoshimasa, 14361492,
who was
Jishoin.
Higashiyama Dono or
called
Branches of
this school are
Higashiyama- Ko-Sei-Ryu
Senzan-Ryu
Higashiyama-Ryu Soami-Ryu
V. Senke-Ko-Ryu.
Originated by the famous Sen-no-Rikyu.
1520.
Bisho-Ryu.
VI.
Originated
by
Goto
Bishokui Dokaku.
VII.
Daigakunokami
or
1545.
Enshiu-Ryu.
Originated by Kobori-Enshu.
The branches
1
578-1 647.
of this school are numerous:
NlHONBASHI ENSHIU
Ango Enshiu
ShIN EnSHIU
Seifu Enshiu
Asakusa Enshiu
and many
VIII.
Miyako Enshiu
others.
Ko-Shin-Ryu.
Originated by Shin-tetsu-sai,
who was
the
teacher of Hidetada, second Shogun of the
Tokugawa dynasty.
I
216]
1
600-1 624.
SCHOOLS FOR ARRANGEMENT
IX.
Sekishu-Ryu.
Originated by Katagiri Iwaminokami Sada-
masa.
1604- 1673.
X. Jikei-Ryu.
Originated by Shouken Jikei in the year
1699.
XI. Togen-Ryu.
Commenced by Togensai Masayasu about
1716.
sogensai
murakumo-ryu
Shikishima-Ryu
Toko-Ryu
Donin-Ryu
XII. Gengi-Ryu.
Commenced by Chiba Ryoboku
in
the
year 1772.
XIII. Misho-Ryu.
Originated by Mishosai Koho.
1
XIV. Sei-Ryu.
Commenced by Doseiken Ittoku
XV. Shoko-Ryu.
Commenced by Hakusuisai
in
804-1 861.
in 18 18.
the year
1896.
[217]
There
is
much
controversy
different schools as
uity,
among
these
to their relative antiq-
but the above dates are those most gen-
erally accepted.
due to the
For any inaccuracy of dates,
difficulties of translation
Japanese chronology,
[2,8]
I
ask leniency.
from the
ty.

Japanese flower arrangement applied to

Transcription

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