to the article).

Arranger’s
Ikebana
Bulletin
Published by The American Rose Society
Diane M. Schrift, Editor
Spring 2008
From East to West Part I
By Lee C. Hale
ARS Horticulture & Arrangement Judge
I
kebana is the art
Teacher, Sogetsu School
of Japanese flower
Master, Ichiyo School
arrangement, or kado,
the way of the flowers. Ikebana
is far more than merely making A.D.) These first arrangements Senki Ikenobo was a priest of the
flowers look pretty in a container. were called Kuge and were Rokkakudo Temple in Kyoto who was
The word Ikebana itself may be floral offerings to Buddha and so skilled in flower arranging other
translated as “living flowers” or the souls of the dead. Buddhist priests sought him out for instruction.
bringing flowers to life. In contrast priests and monks prepared As he lived by the side of a lake, for
to the massing of blooms typical of these floral offerings. There is which the Japanese word is Ikenobo,
Continued on page 2
flower arrangements in the Western no indication as to the size of
world, Ikebana is based on the lines these arrangements but they
of branches, twigs and/or leaves, were placed on or near the
filled in with a small number of altars of Buddhist Temples.
blooms. Materials of Ikebana can The offerings were simple,
include freshly cut branches, vines, symmetrical compositions
berries, fruit, seeds and flowers, of three stems. Kuge became
as well as wilted and dried plants. Tatebana and later became
Ikebana has been pursued as a form known as Rikka. Japanese
of meditation on the passage of the history tells us these Rikka
seasons, time or change. Its religious arrangements were very
origins and strong connection to large, sometimes using whole
the natural cycle of birth, growth, trees and/or vases seven feet
decay and rebirth can give Ikebana tall. Rikka was constructed,
a deep spiritual meaning to the not arranged. In 752, the
arranger. This implies an attitude Great Buddha at Nara was
or philosophy based upon a way of dedicated. In 1693, a 40-foot
looking at and living with nature. tall Rikka was constructed to
Shinto, Japan’s prehistoric native honor the Great Buddha. In
religion, fosters love of nature and 1599, one hundred Ikebana
(Rikka) exhibits were shown
a great regard for flowers.
Classical Rikka Arrangement
th
at Dauin-in, Kyoto. In the 15
Celebrating the Anniversary of
Ikebana International Chapter #1
The first Ikebana arrangements century, between 1460 and
Washington, DC April 2007
were brought from China with the 1470, Ikebana was established
Photo by Pia Nulsson
as
a
formal
art
and
it’s
rules
introduction of Buddhism to Japan
th
during the 6 century (around 550 set down by Senki Ikenobo.
Rose Arranger’s Bulletin | Spring 2008 “Ikebana” continued from page 1
In the 16th century, another form of Ikebana, Nageire, came
from the Japanese tea ceremony which included “tea flowers”.
Tea flowers were composed of one or two flowers or branches in
a small container. Nageire literally means to “throw in”. Nageire
was in stark contrast to Rikka. In Rikka there was an emphasis
on elaborate technique, large scale, symbolism and fixed styles.
Nageire, on the other hand, emphasized spontaneity, simplicity,
suggestiveness and respect for the natural characteristics of plant
materials. The differences and tension between the two would
lead to all future innovations in the art of Ikebana.
Lee C. Hale
the name Ikenobo became attached to the priests who specialized
in these altar arrangements. Rikka was the exclusive province
of Buddhist priests, monks, members of the royal court and the
aristocracy. Rikka was and still is a very formal arrangement, with
extremely rigid rules.
The Golden Age of Nageire occurred during the Edo period
from 1600 - 1868. During this period Ikebana came to be practiced
by many more Japanese. These arrangers included samurai,
merchants, and other men and women. Nageire introduced the
naturalistic asymmetrical triangular arrangements, using heaven
(shin), man (soe) and earth (tai) in a tall vase. These were primarily
placed in a Tokonomo (a tokonomo is an alcove in a Japanese
Hanging Nageire Arragngement using ‘Hot
room). This arrangement should be a unique blending of self with
Princess’ roses and Kiwi vine
the world. Arrangements may be vertical, slanting or hanging.
by Lee C. Hale
During this period, the rules for Rikka became more rigid.
In the 18th century, Shoka arrangements emerged.
Shoka arrangements have the naturalness of Nageire
and the formality of Rikka. The combining of the best
of both designs gives a very simple and very beautiful,
Ikebana...From East to West Part I
three-branch asymmetrical style. It was and is a very
By Lee C. Hale .............................................1
elegant and balanced arrangement. Shoka means “live
Ikebana in Our ARS Rose Shows;
flowers” and was still rather formal. Shoka employs a
Expression of Nature with Flowers and Foliage
three-branch composition based on an asymmetrical
By Gary Barlow............ .................................4
or scalene triangle. The three branches of the triangle
Sogetsu School of Ikebana: Basics
came to be known as shin (heaven), tai (earth) and soe
By Carol Macon ........................................... 8
(human being).
Rose Show Results ...............................................11
In this issue…
ARS Spring National Rose Show.......................... 12
Editor’s Rose Rap .................................................13
Ikebana Katari
By Mitchie Moe ...........................................14
Q & A , By Doug Helberg ......................................14
Tora! Tora! Tora!
By Pete Moss .............................................16
Shoka Shimputai
By Lee C. Hale ...........................................18
Rose Arranger’s Bulletin | Spring 2008 The opening of Japan to Western influence from
the beginning of the Meiji era (1868-1912) brought
great changes to all aspects of Japanese life, including
Ikebana. Schools of Ikebana were opened, each using
slight differences in designs. For example, Unshin
Ohara (1861-1916) founded the Ohara School. Ohara
introduced various kinds of containers and supports, that
had never been used before, to arrange cut plants. Today
there are more than 3,000 schools of Ikebana in Japan.
Continued on page 3
“Ikebana” continued from page 2
In the 1930s and then more so in the post World War II period,
interest in Ikebana became much more widespread throughout the
world. Schools opened which attracted all types of people. Many
wives of U.S. military serving in Japan took up the art and spread
it abroad.
Lee C. Hale
The thing I find really amazing is that all of the schools have lots in
common and very few differences. There are two leading Schools
of Ikebana. I would like to cover in a later article because of their
impact on Ikebana and their leadership in Ikebana International.
One of the greatest impacts on Ikebana today took place in Tokyo
in 1956. Mrs. Ellen Gordon Allen, an American and wife of General
Frank Allen living then in Tokyo, was able to get the agreement
of the leading Schools of Ikebana to come together and lend their
support to an organization called Ikebana International. Mrs. Allen
did not stop there. When she returned to Washington, D.C. in 1957
she organized the first Chapter of Ikebana International there.
Today this organization has chapters around the world in almost
every country.
About 20 years ago, the American Rose Society introduced a
new class in rose arrangement competition; “Arrangements in the
Oriental Manner”. The name Ikebana could not be used for one
simple reason. One of the mores or rule that has been in Ikebana
for over 600 years is that Ikebana arrangements cannot be judged
by another person. The Judge does not have the ability to see into
the soul of the arranger and determine what the arranger intended in
constructing the design. There is a lot of merit in that moral – think
about it!
I lived in Japan for three years and I began my study of Ikebana
there in 1963 and have studied Ikebana almost continuously since
then. I hate to admit it but that has been 45 years. After all that,
I’m still not sure I understand fully the total philosophy (zen)
of the Art of Japanese flower arranging with all its nuances and
interpretations. Reading a couple of books on Ikebana is great but
to me that is like looking at a photograph that shows no depth or
space and sometimes the lines are unclear. You have to read more
than a couple of books and you must practice with arrangements if
you really want to know Ikebana. Ikebana or Arrangements in the
Oriental Manner is great fun and very satisfying but you have to put
some effort into it.
In 2005, the ARS Board of Directors approved the organization
of a core study group for those interested in “Rose Arrangements
in the Oriental Manner”. The purpose of this study group is to form
local, District and/or Regional groups (Chapters) to encourage
ARS members to learn more about “Rose Arrangements in the
Shoka Arrangement
By Lee C. Hale
Oriental Manner” and the many schools
of Ikebana. When Marilyn Wellan left
office as President of ARS, she went home
to Louisiana and started the first study
group. If you are interested in joining or
organizing a study group, joining a local
Ikebana International Chapter or just
finding a local teacher of Ikebana please
contact one of the following for necessary
information.
☼
Dr. Lewis Shupe
1343 Sunset Drive
Fairborn, OH 45324-5649
[email protected]
Or
Lee C. Hale
174 Lee Maddox Rd
Jackson, GA 30233-5828
[email protected]
Rose Arranger’s Bulletin | Spring 2008 Ikebana in Our ARS Rose Shows;
Expression of Nature with Flowers and Foliage
By Dr. Gary Barlow
Professor of Ikebana-Ikenobo, 3rd Grade (Sokakyo)
ARS Arrangement Judge
[email protected]
“Harmony” Calligraphy by Tomoyo T. Koehler
From the WAKEI SEIJAKU (harmony, respect, purity and
tranquility) which encapsulates the spirit of the Japanese
Tea Ceremony.
Ikebana is one of the long-lasting traditional arts of
Japan. Flowers in bud and full bloom and other plant materials
(such as interesting linear branches, seed pods, grasses, large
and small leaves), fresh and withered foliage, and both water and
land plants, are used in the creation of beautiful artistic images.
History and Schools
There are many Ikebana schools that have developed from the teachings of Ikenobo, the oldest Ikebana
school that has been in existence for more than six hundred years. In these early times, the Buddist ritual of
offering flowers to the spirits of the dead was customary, and by the fifteenth century Ikebana came into its being
as an art form independent of its religious origins. Priests and the nobility were early teachers, but practitioners
were also the Japanese Samurai warriors who believed that if they designed an Ikebana flower arrangement as
well as partake of a tea ceremony on the eve of a battle, these religious and artistic experiences would prepare
them to move into the next realm with a kinder, purer heart. An Ikenobo brochure states “Our predecessors in
Ikebana felt that flowers were not only beautiful but that they could reflect the passing of time and the feelings
in their own hearts. When we sense plant’s unspoken words and silent movements we intensify our impressions
through form, a form which becomes Ikebana.”
Ideas and the Elements of Design
In today’s Ikebana, regardless of the period or school, there are certain ideas or practices that are accepted.
Almost any plant material may be used, and is respected for its natural beauty and character. For example, one may
study a piece of wood for its texture, linear quality, color, shape and form, as well as the pattern of greenish moss
on its surface. A leaf may be fresh and green with striations of lines and colors, or it may be torn or scarred from
insect damage. A flower may be bright and upright, or it may have many petals or a few. Stems may be long and
straight, or they may bend and sway in the breeze. The “empty” (“negative”) space is as important as the “closed”
(“positive”) space, and the two work in harmony to build interesting forms within the total composition.
One also understands the effects of color, and realizes that in an arrangement “warm” colors” (reds, oranges,
yellows) have the tendency to advance, or come forward toward the viewer, while “cool” colors (greens, blues,
Continued on page 5
Rose Arranger’s Bulletin | Spring 2008 “Ikebana in ARS” continued from page 4
violets) tend to recede. Experience and practice with color usage helps the arranger understand, for example, the
subtle relationships between pale pink roses and a soft light sea green container (tints of complementary colors),
or the fall red maple leaves paired with deep pink roses in a copper red container (primarily a monochromatic
color scheme comprised of both tints and shades). These, and many other, characteristics are taken into account
when studying the nature of the materials used in Ikebana.
Ultimately, the essence of Ikebana is the personal
expression of beauty. The artist/arranger must express
one’s own sense of beauty, elucidate the meaning and
purpose, and present the materials as they exist in nature.
Simplicity and Harmony in a Setting
Simplicity and a sense of harmony among the
materials are of utmost importance. The setting in which
the arrangement is to be used must be understood. For
example, in the Japanese home, a tokonoma (a cubicle for
holding the arrangement, and often a scroll or a simple
household item) is used. This is a place for contemplation
and the presentation of beauty in a focused, defined area.
This aesthetic arrangement greets the guests as they arrive
and are welcomed into the home. In a western home, the
arrangement may be placed on a living room table amid
the coming-and-going of a family, or on a hotel’s reception
desk where hundreds of people may pass by it in a short
period of time. These settings – some for quiet study and
others for quick viewing – give the arranger suggestions
and parameters for building the design.
In a medium-tall container, this Rikka Shimputai design from
the Ikenobo School utilizes various flowers such as Aspidistra
leaves, Quince branch with flowers, Craspedia and various foliage
along with a ‘Pope John Paul II’ rose that serves as the center focal
point of the design.
In our ARS national, district and local rose shows,
the design may be placed against a patterned or plain wall
or in a neutral niche. By respecting the setting and the
allotted space in which the arrangement is to be displayed, the arranger can adjust to it and even alter it (for
example, with colored cardboard panels behind the design) if necessary, while respecting the Japanese aesthetic
feeling of simplicity and beauty in a designated area. We should, therefore, not alter the space with serendipitous
clutter.
Writing the Schedule
There are many schools of Ikebana. Most have headquarters in Japan, while a few have companion
offices in the United States. For example, Ikenobo has its main headquarters in Kyoto, and the Ikenobo Ikebana
Society of America is housed in an office (with an adjoining gallery) in San Francisco. The Sogetsu school is
also an active school in the U.S., as are other schools such as Ohara, Ichiyo, Saga Goryu, Ryusei-Ha and Shinpa
Seizan, to name just a few.
These schools have many things in common such as the love of flowers and the respect for the beauty
of nature and the need for personal expression of this beauty through artistic design. However, there are
also differences relating to focus of materials, emphasis of certain artistic forms and methods of delivery. To
Rose Arranger’s Bulletin | Spring 2008 Continued on page 6
“Ikebana in ARS” continued from page 5
accommodate these differences, and yet maintain the integrity of Japanese
design, our rose shows should reflect a flexibility that allows for members of all
schools to participate in the artistic exhibits.
One way of encouraging this participation from exhibitors from various
schools is to keep our terminology more general, wherever possible, instead
of overly specific. For example, in some schools a Shoka design is practiced
(such as in Ikenobo, Sogetsu and Saga Garyu) but in other schools it is not. We
know that in these schools, the Shoka design is often done in a tall (or medium/
tall) container. Therefore, when writing the Oriental section of the rose show
schedule, we should write “in a tall container” instead of “Shoka design.” By
doing this, it invites arrangers from diverse schools to enter that particular
class instead of just those who know the intricacies of Shoka design. A Shoka
design certainly may be entered in this class, but other types of designs (such as
Nageire, or others) may also be entered. To illustrate, this class might be written
as follows:
Class 20.
“Summer Breeze”
A design in a tall container.
Specify type of design on entry tag.
Similar to this example is the Moribana design. The style of
arrangement known as Moribana is old, and practiced by numerous schools.
It is usually (although not always) in a low container, and water must be
a part of the design. The container usually has a wide area so the water
can spread out and be an important part of the design, exhibiting a natural
kind of water-support for the flowers and foliage that rise from it. Water is
integral in this design. However, there are some schools that do not use the
Moribana designation. Therefore it is important for our rose shows to use
some general descriptors just as we did in the Shoka example. To illustrate
this example, the class might read as follows:
Class 21
The Smoke Tree branches and leaves
serve to extend the design (Nageire) in a
tall container. Two primary colors, red
(‘Knock Out’ roses) and blue (glazed
container) are the focus of this design.
“ Mist Over Morning Water”
A design in a low container showing water as a
part of the design.
Specify type of design on entry tag.
By writing a description similar to the above, it allows a person from
any school to enter this class, and it also gives a focus to the importance of
water in the design. This does not have to be a Moribana design, although
it could be. The “low container with water” description might also lend
itself to a modern naturalistic Japanese Free Style design. By using
“tall container” in the first example and “low container” in the second
example, we are covering all bases and allowing a wider interpretation for
exhibitors.
When writing the Oriental section, one should also take into
consideration the underlying meaning of this special part of the rose
Rose Arranger’s Bulletin | Spring 2008 Continued on page 7
An arrangement in a low container with
water as an integral part of the (Moribana)
design. Roses are ‘Gentle Giant’ and ‘What
a Peach’ with Tiger Grass and tall water reeds
completing the design.
“Ikebana in ARS” continued from page 6
show schedule. One should think of the Eastern philosophy,
of simplicity, contemplation, of Japanese culture including its
view of the arts, nature and living. To sum up: think Eastern!
This will give the schedule writer a push in the right direction
for writing class titles and descriptions. “The Fourth of July” is,
obviously, not a part of the Eastern tradition, but it is an important
American holiday celebration; therefore it could easily be in a
modern “American” class of a rose show, but not typically in the
Oriental section. A more general designation of “fireworks” may
be used however, because they are incorporated in the celebrations
of various holidays unique to many different cultures. Knowing
that the Japanese culture, by tradition, respects the quiet, simple
aspects of nature, a class title stating “Blue Water with Flowers”
or “Trees in the Wind” or even “Waterfall” or “Grasses” might be
appropriate class titles. To go further, one should try and specify
content in the class description that will give the potential arranger
something from which to work, and that relates directly to the title.
Consider how this class title and content offers direction for the
potential arranger:
Class 22
A modern Free Style design utilizes ‘Abraham Darby’
roses with driftwood that repeats the color of the textured
container.
“Willows in the Wind”
A Free Style design that shows linear movement.
Other classes might emphasize particular elements of design that we know from our study of design, and
as they are described in the ARS Guidelines for Judging Rose Arrangements. Examples of the focus on some
elements might be:
Class 23
“The Earth in Winter”
A design in a low or mid-size container emphasizing texture as an important part of the
design. Specify type of design on entry tag.
Class 24
“Green Hills with Red Flowers”
A naturalistic Free Style design using red and/or green in the design.
Class 25
“Simplicity”
A design emphasizing the use of enclosed space in the design. Specify type of design on
the entry tag.
An Oriental section in a rose show should have at least three main classes: (1) Arrangements in a tall
container; (2) Arrangements in a low container; and (3) Free Style. If it is a large show with special circumstances,
such as a national show or in an area with many advanced arrangers in Oriental design, it might be desirable to
have a class specifically identified for Shoka arrangements, for example. If so, then the next class immediately
following might state “Any other arrangements in a tall container” to accommodate those who do not wish to
enter a specifically named Shoka design class. Likewise, if a class is identified specifically for a Moribana design,
Continued on page 15
Rose Arranger’s Bulletin | Spring 2008 Sogetsu School of Ikebana: BASICS
By Carol Macon, Sogetsu School
ARS Arrangement Judge
[email protected]
Before competitive rose arranging came into my life, my idea of an arrangement of flowers was the ubiquitous
mass bouquet. Having a large garden with many types of flowers, I was able to provide bouquets for friends’
birthdays, dinner parties and church events all through the growing season. That my efforts usually resulted in
wretched excess bothered no one; my friends loved those bouquets, and I enjoyed putting them together. During
rose season, I used roses with lilies and delphinium; these were a favorite combination. So when I first entered
the arrangement section of a rose show, it was with a lovely bouquet of the same. To my utter astonishment, it
was ignored by the judges. Eventually one of them sympathetically explained that I had unwittingly violated the
prime directive of rose arranging: it’s all about the roses.
With encouragement from arrangement judges,
particularly Kreg Hill, Bill Christensen and Joan and Herb
Franson, I gradually learned that there are other directives,
too, in fact a whole manual full of them, and that there
are several different styles and sub styles of arrangements.
My ability to produce rose arrangements that could
actually win a ribbon though, seemed hit or miss. I did not
really know what it was that made the difference. Then a
fortuitous event occurred. I stumbled across an exhibition
of work by a local Ikebana chapter. There were dozens
of arrangements, none of which remotely resembled my
efforts, and each in its own way was perfect. Magic!
I wanted to learn how to make magic happen.
Moribana Arrangement by Carol Macon
Short measurements were used
Looking back, I realize it wasn’t magic at all. For,
to conform to the requirements of the Duke Class
although I knew good balance and proportion in an
arrangement when I saw it, I did not know how to apply
it on a regular basis in my own work. Also, I was woefully deficient in my knowledge of mechanics. I joined
Ikebana International and began my Ikebana journey with an instructor who belonged to the Sogetsu School.
The transformation of my arrangement abilities began with my very first lesson, in which I learned two bits of
“magic”: 1. Kenzans exist.
2. There are actual formulas that guarantee the achievement of balance and proportion in an
arrangement.
The following is a summation of that first lesson.
In the Sogetsu School of Ikebana there are two basic types of arrangements: Moribana, which utilizes a low,
flat container, and Nageire, an upright type utilizing a vase.
A kenzan (pin holder) is used to hold materials in a Moribana arrangement. Nageire arrangements are most
often accomplished using crossbars made of twigs as armatures. Learning how to construct crossbars and mount
them below the lip of the container is one of the most basic lessons in the study of Sogetsu Ikebana.
Continued on page 9
Rose Arranger’s Bulletin | Spring 2008 “Basics” continued from page 8
The placement of the kenzan in a Moribana container is dictated by the seasons. In spring and summer a lot
of water is shown by placing the kenzan toward the rear of the container. In fall and winter, less water is shown
by placing the kenzan closer to the front of the container. Placement of the kenzan is also often dictated by the
shape of the container.
Three main lines are used in both styles: Shin (pronounced sheen) is the subject, or main line.
Soe (pronounced soy) is the secondary line.
Hikai (pronounced he ki) is the object, or tertiary line.
Other lines are Jushi (pronounced ju she). These are helpers to the main lines and are always placed very
close to the lines they are helping. Restraint is advised in the use of Jushi.
The placement of the three main lines in a container can be done in two basic ways, upright and slanting. In
Sogetsu School instruction, there are eight variations on each of these two forms, and all horizontal, cascading,
free-style and abstract (avant guarde or non-natualistic) placements are variations of these. The angles formed by
the various positions of the three main lines in the container will form an asymmetrical triangle. The placement
of the Shin (main) line dictates the style of the arrangement.
In a basic upright Moribana style, for instance, Shin is placed at a
0 to 15 degree angle to the left at the center rear of the kenzan. Soe is
placed to the left of Shin (viewing Shin from the front) at a 35 to 45
degree angle to Shin. Hikai is placed low, at about 60 degrees, in front
of and angling slightly to the right of Shin at the front of the kenzan.
The length of the Shin line is very important, because it directly
affects the balance and proportion of the arrangement, making possible
the most graceful utilization of floral materials. The lengths of the
other main lines and Jushi are derived from the length of Shin. In
Moribana, the length or diameter of the container dictates the length of
Shin. In Nageire, the height of the container dictates Shin’s length.
Standard Measurements Moribana: Use in most situations, such
as standard rose arrangements.
Shin is 1½ times the diameter or length of the container plus the
depth twice.
Soe is ¾ Shin and Hikai is ¾ Soe (which is ½ Shin).
Small Measurements Moribana: Use when arrangement will be
small or placed in a small area.
Shin is the diameter or length of the container plus the depth
twice.
Soe is 2/3 Shin and Hikai is 2/3 Soe.
Moribana Arrangement
by Carol Macon
The class was titled “Geisha”
Shin is the Geisha holding a fan:
Soe is her seated admirer.
Large Measurements Moribana: Use with large branches, coarse materials and largest containers.
Shin is 2 to 2 ½ times the diameter or length of the container plus the depth twice.
Standard Measurements Nageire: Use in most situations.
Shin is 1½ times the depth of the container, plus twice the diameter of the container.
Then add on the length of the portion of the stem that will be below the water line.
Continued on page 10
Rose Arranger’s Bulletin | Spring 2008 “Basics” continued from page 9
Soe is ¾ Shin, plus the length of the portion of the stem that will be below the water line.
Hikai is ¾ Soe, plus the length of the portion of the stem that will be below the water line.
Small Measurements Nageire: Use when arrangement will be small or placed in a small area.
Shin is the depth of the container. Add on the length of the portion of the stem that will be below the water line.
Soe is 2/3 Shin, plus the length of the portion of the stem that will be
below the water line.
Hikai is 2/3 Soe, plus the length of the portion of the stem that will be
below the water line.
These measurements and rules of placement may, at first glance, seem
rigid, but they are a product of centuries of evolution in Japanese flower
arranging, and as such, of centuries of experience in reliably reproducing
the beauty of nature. In other words, the wheel has been invented; one just
needs to use it. Further, I found that as time went along, the measurement
of my materials and the formation of the asymmetrical triangle became
internalized, and eventually I did not need a ruler.
The measure of rose arranging success for me is pretty definite; it is
the ability to bring home a blue ribbon for my efforts. When the balance
and proportion of my arrangements improved and when my methods of
securing materials in containers improved, the blue ribbons followed. So,
if you feel that your arranging abilities have plateaued, you might try the
basics of Ikebana for inspiration to move forward. It worked for me, and it
could work for you, too. You may also find, as I did, that the means to an
end becomes the journey. When my roses are buried under a foot of snow,
I can still progress in my study of Ikebana. It, like roses, has become a
passion.
☼
Cascading Nageire Arrangement
by Carol Macon
Class titled “Shogun”
A fifth rose is positioned near the right
rear of the container at the base.
A Checklist for Sogetsu Arrangements
By Carol Macon
Consider your selection of a container. Does it relate to the arrangement?
Use plant material of the best quality, appropriate to the season or theme being interpreted.
Use restraint in the placement of plant material. Simplicity is the hallmark of classic Ikebana and Oriental Manner arranging.
Measure, measure, measure your material.
Leave open spaces between the main lines (branches or stems) of the arrangement.
Make sure the arrangement contains an odd number of stems or branches. Two branches are also fine.
Check to see that no two branches are the same length and no two flowers are at the same height.
Check for and correct crossed branches, twigs or stems.
Make sure the arrangement contains an odd number of flowers. Two is also fine. The use of four flowers is traditionally avoided.
Make sure that the kenzan of a Moribana arrangement is placed off center and is covered with water.
Check to see that plant materials don’t hang into the water in the container. In a Nageire container, plant stems may rest on the rim.
Remove weak or diseased vegetation. However, just as in nature, the plant material may have small defects, such as a torn leaf.
Check to see that all flowers are facing up or level
Remove debris from the water in the container.
Look appraising at your arrangement from a distance and from both sides.
Rose Arranger’s Bulletin | Spring 2008 10
Rose Show Results
When reporting show results, please report the level (local, district or national), name of the host rose society,
date(s)) of show, location (city, state) and the theme of the show. For each ARS award-winning arrangement
include the class title, name of the arranger, the rose(s) used in the arrangement and the awards received.
Only the ARS awards listed below will be included in this publication.
Standard Arrangement Awards
# = National Award
G = Gold Medal
S = Silver Medal
B = Bronze Medal
Miniature Arrangement Awards:
R = Royalty
D = Duchess
A = Artist
P = Princess
O = Oriental
K = Keepsake
DK = Duke
RC = Rosecraft
CE = Court of Etiquette
# = National Award
g = Mini Gold Medal
s = Mini Silver Medal
b = Mini Bronze Medal
r = Mini Royalty
d = Mini Duchess
a = Mini Artist
p = Mini Princess
o = Mini Oriental
k = Mini Keepsake
mf = Mini Flora
rc = Mini Rosecraft
ce = Mini Court of Etiquette
Other Arrangement Awards: J = Judge Jr = Junior N = Novice PA = Personal Adornment
NR =Not Reported, Not Recorded, Other Problem
Reno RS, Reno, NV
Sparkle Like a
Diamond
June 17, 2007
Theme: “A Day of Wine and Roses”
Class Title
Exhibitor
Rose Varieties
Awds
“Red Roses for a Ann Marie Harris Royal William,
G, A
Blue Lady”
Precious Platinum,
Mr. Lincoln, Fourth of
July, Liebeszauber
“Sweet Desert
Rose”
“Days of Wine
and Roses”
“Rose of
Washington
Square”
Ann Marie Harris Vision
S, O
Elizabeth Harris Regensberg, Iceberg, B, R
Mme Hardy, Marijke
Koopman
Barbara Gordon NR
J
Penn-Jersey District Rose Show
Greater Harrisburg RS, Harrisburg, PA Sept. 8, 2007
Theme: A Diamond Jubilee
Class Title
Exhibitor
Rose Varieties
r
Like a Diamond inJoan Singer
the Sky
Sweet Revenge
a
Bright as Young Joan Singer
Diamonds in
Their Infant Dew
Sassy Cindy
o
West Valley RS Glendale, AZ
Nov. 24, 2007
Theme: “All that Glitters are Roses”
Class Title
Fruitcake
Exhibitor
Luz Wilson
Rose Varieties
Just Joey
Awds
G, A
Dashing Thru the Lauren Toth
Snow
Bride’s Dream, Cajun S, R
Moon, Moonstone
Tinsel
Lauren Toth
Julia Child
B, O
Silent Night
Lauren Toth
St. Patrick
P
The Grinch that Lauren Toth
Stole Christmas
Marilyn Monroe
DK
Toy Soldiers
Judy Hudgeons
Miss Flippins
g,a
Good Things
Come in Small
Packages
Lauren Toth
Baby Boomer
s, r
Winter Serenity
Clarence
Newcomb
Green Ice
b,o
Father Time
Kreg Hill
Merlot
J
Awds
Lucy in the Sky
With Diamonds
Nancy Redington Electron, French
Lace, Frederic
Mistral, Belami
R
The Diamond
District
Pat Bilson
Traviata
A
NR
DK
Neil Diamond’s Pat Lawrence
Hit - September
Morn
Nancy Redington Gourmet Popcorn
Anniversary WaltzNancy Redington Rina Hugo, Memorial CE
Day, Spring’s A
Comin’, Electron
Diamond Dawns Nancy Redington Tournament of Roses RC
Are Set in Rings
of Beauty
Rose Arranger’s Bulletin | Spring 2008 11
Editor’s
Rose Rap
If you’re reading this as a hard copy, it probably arrived at your door in April.
It was actually posted on the ARS website in early March. Can’t stand the wait?
Change over and subscribe to the online version by going to the ARS website now:
www.ars.org/Forms/quarterly-subs.html
This quarter, you will find a variety of articles dealing with Arrangements in the
Oriental Manner. As usual, the published materials are entertaining, provocative and useful as a teaching tool.
There’s something for everyone and for every level of expertise. Articles were submitted by and represent a wide
cross section of the ARS “arranging community”.
Incredibly, the editor found that almost all of the rose show data submitted to date had been published.
Happily, this left room for an expanded Oriental issue. On the down side, there’s never enough room. As a result,
Part II of Lee Hale’s Ikebana article will be published in the Fall 2008 issue along with a marvelous article by Dr.
Lew Shupe. If you’d like to contribute a piece on arrangements in the Oriental Manner for the Second Oriental
Edition, contact the editor. The copy deadline for the Fall 2008 issue is August 1st.
In the meantime, the editor is out hunting for articles on “containers”; new, old, modern, traditional, oriental,
found, constructed, etc. These are treasures that serious arrangers hunt down and hoard until just the right moment
arrives and inspiration and the “treasure” come to light in a rose show. If you have a great image of your “piece de
resistance” and care to share it along with a description, please submit the image digitally or by mail to the editor
before May 1st. One good picture says a thousand words.
“IKEBANA WORKSHOP”
November 15-16, 2009 Post-Palm Springs, CA Convention
Featuring: Lee C. Hale, Dr. Gary Barlow and Dr. Lewis Shupe
Information? [email protected]
Holy Toledo!
Rose Arranger’s Bulletin is an official quarterly publication
of the American Rose Society. Subscription rate is $10 per
year for an online edition and $15 for a printed black & white
edition. Address new subscriptions, gift subscriptions and
renewals to:
The American Rose Society
P. O. Box 30,000
Shreveport, LA 71130-0030
(800) 637-6534
Please address comments about articles to:
Diane M. Schrift
Editor
2419 Yorkshire Rd.
Birmingham, MI 48009
[email protected]
L. Douglas Helberg
Chairman, Arrangement Judging Committee
6628 S. 153rd St.
Omaha, NE 68137
[email protected]
Gladys Johnson
Dr. Gary Barlow
Dr. Lew Shupe
The Toledo Arrangement Workshop
May 3, 2008
Offers everything the up-to-date arranger needs to know
plus 4 credits for Arrangement Judges!
Toledo Botanical Gardens
5403 Elmer Drive, Toledo OH 43615
8:30 am - 4:00 pm
Registration of $15 (includes lunch) to:
The Toledo Rose Society
℅ Cheryl Menard
552 Thackery Road
Maumee, OH 43537
Rose Arranger’s Bulletin | Spring 2008 13
Ikebana Katari
By Mitchie Moe
ARS Horticulture and
Arrangement Judge
Hybridizer
[email protected]
Q
and
A
By Doug Helberg
Q: The Guidelines say in Underwater Classes 1/3 of
As I grew up in Japan; flower arrangements
were everywhere. In most Japanese homes there is
a small space in the living area called tokonoma
– a raised display area for an arrangement of
seasonal flowers and/or tree branches. In Japan,
flower arrangements reflected the seasons –
January being pine, February plum, March peach
to name just a few. We would cut a branch or two
of the seasonal plant and incorporate them in our
arrangements. As children we were encouraged
by our mothers to make an arrangement at least
once a week, which is about how long it lasted in
the house. Usually only the daughters of wealthy
families had the opportunity to take formal flower
arrangement classes. The rest of us learned from
our mothers or neighbors. From what I recall
of my katari (story), the flower arrangements I
made were more Free Style design. Even though
we were not wealthy, we were always able to buy
a few flowers even after the war from a florist
very reasonably to make the very nice Free Style
arrangements that I remember.
When I first joined the American Rose
Society and started growing roses for exhibition,
I was not very interested in rose arranging. As
an Oriental and a member of the Tacoma Rose
Society, I was very fortunate in that Jo Martin, an
expert in arrangements who was also a member,
organized some rose arrangement seminars that
I attended. I was very intrigued by her beautiful
roses, and how she used them in creating those
arrangements. This was my introduction to the
more formal aspects of rose arranging. Jo was
more of an expert in traditional design, not
Oriental, although she did work with them during
Continued on page 15
her seminars.
Rose Arranger’s Bulletin | Spring 2008 14
the design “should” be under water. Can more than
1/3 or all be under water? Does this preclude 2/3 or
more being under water?
A: “Guidelines” are just that. The 1/3 was placed into
the new wording so both arrangers & judges would be
on the same wave length. My interpretation is that the
focal point is to be the underwater portion with a flower,
not just stems. The balance and proportion would not
be correct if all of the design was placed under water,
nor would the relationship of the design to the container
be correct. The exact amount placed under water would
greatly depend upon the size of the container and the
size of the flower. This is a Modern design, so plant
material above the container would most likely be light
and not massed. The recommendation for proportion is
approximate, not an exact science. As the Guidelines
state 1/3 of the DESIGN should be under water, I would
try to stay within this parameter.
Q: What’s your opinion of removing all the petals
from a fresh rose bloom and using the stamens in a
modern rose design?
A: I have done exactly this, especially with ‘Golden
Wings’ and ‘Dainty Bess’. We are not to deform the rose
bloom, but I do not consider the removal of all the petals
on a five petal variety “deforming”. If bumped, they are
going to fall on their own. The definition for “Princess”,
states any part of the rose may be used. If there are no
petals, then the rose stem becomes LINE material. It is
no longer an identifiable rose to be exhibited at its most
perfect phase of beauty. As filler plant material, I see no
reason why it cannot also be used in Traditional Classes
as it is line material, not flower. Not everyone will agree
with me. If you feel differently, contact me by e-mail.
Let’s find out how others feel about this.
“Katari” continued from page 14
As I mentioned; I was not particularly interested in rose arrangements, especially the Oriental ones that have
so much meaning, as I didn’t get the formal flower arrangement classes when I was a child. When I joined
the ARS, I bypassed arranging and put all my energy into horticulture exhibiting. After many seasons when I
somewhat satisfied my exhibiting, won a few trophies and had a box full of ribbons and rosettes, I knew I needed
more of a challenge. As some of you know, this led to hybridizing but that is a different story for another time
and place! So, Jo Martin was happy to provide me with a new challenge – that of rose arranging which I worked
very hard at in earning my certification as an arrangement judge in the summer of 2001.
John Moe
As an arrangement judge, I really had to challenge myself to make some Oriental arrangements – Moribana,
Nageire or Free Style at each rose show I attended. Usually I made one mini and one large arrangement. Oriental
arrangements are characterized by an asymmetrical (irregular) triangular which symbolizes the universe. To form
this triangle, when viewed from the top or any side, there are
three main lines – Shin (Heaven), Soe (Man), and Tai (Earth).
The Shin line is the tallest or 1.5 to 3 times the height plus the
width of container. The Soe line is 2/3 of the Shin line, and the
Tai line is 1/3 of the Shin line. It has been my experience that
there is so much emphasis put on the three lines by some judges
that I’m sometimes reluctant to make them. As I mentioned
before, I like the Free Style Oriental arrangement that I learned
when growing up. When I first began arranging, I especially
enjoyed making the traditional mass design. I have learned to
appreciate when an Oriental design – Moribana or Nageire is
well made. I see the beauty and simplicity that these designs
can bring.
Mitchie Moe holds one of her winning arrangements.
Even though it is difficult for me to make the traditional
Japanese designs, I have won a number of ARS Oriental
Awards over the years and do plan to work on perfecting the art
of creating these lovely arrangements.
☼
“Ikebana in ARS” continued from page 7
then a following class could be listed generically as a low container showing water. These are only examples to
help you keep the show schedule flexible for all people.
Finally, it should be noted that in the ARS Guidelines, the title of the chapter on Oriental arranging is
“Arrangements in the Oriental Manner.” This title is stated in this general way so that arrangers with little
experience in a particular school of Oriental design can still participate in creative, expressive design in this area
of rose arranging. For those wishing to have extended in-depth experiences in Oriental design, they can view
the ever-expanding sections of Oriental arrangements in local and national rose shows, and study in specifically
designed seminars and workshops within the ARS. One can learn much about design, simplicity of style and
creative interpretation of nature from our Eastern counterparts. This is an exciting and rewarding area for artistic
expression!
☼
Rose Arranger’s Bulletin | Spring 2008 15
Tora! Tora! Tora!
By Pete Moss
It would seem that in any longlasting relationship there would
come a day when one thinks that
our significant other has somehow,
and without our knowing why or
how, slipped quietly around the
bend. I realize that “herself” is
getting on in years and has recently
become a card carrying member
of an organization called AARP,
so at first I thought it was just one
of those harmless environmental
groups trying to save the seals or the
whales. I know this didn’t happen
overnight, and by now I’m used to
her flights of fancy where her roses
are concerned, yet the other day I was
seriously considering increasing her
medication or making a reservation
for her at the Shade Rest Retirement
Village for the terminally confused.
It wasn’t that she had become
forgetful or violent; in fact some of
her actions were just the opposite. I
think about that time our diet changed
too. We seemed to be eating more
Rose Arranger’s Bulletin | Spring 2008 16
fish and rice dishes, except I really
drew the line when it came to sushi
and tofu. She had become serene,
introspective almost secretive, and
there were times when I questioned
my own sanity, my own state of
mind, but I get ahead of myself here.
It all started when she came home
one night from a rose society meeting
saying that they had had a marvelous
speaker, some Oriental lady from
the college. Since I don’t speak
Oriental, I went back to reading my
sports page, wondering if the Lakers
were ever going to pull out of their
slump. I suppose I should have paid
attention since it would have saved
me a lot of time later on trying to
figure out what was going on in our
happy home.
At first there were some strange
signs of new activity left lying about
on her workbench. Bits of twine,
twisted tree branches, wire and odd
pieces of equipment; a thing that
looked something like a device that
resembled some Medieval torture
implement designed to impale your
favorite enemy on a multiple array of
point pins. She started accumulating
flat dishes and tall vases and spent
a lot of time measuring them and
making wild gestures in the air.
The first things that came to
mind was that she had fallen in
with some cult - one of these weird
organizations that chant or stare at
the sun - so of course, the first thing
I did was check our savings account
and check book balance. There
wasn’t any significant change other
than some frequent charges on our
VISA card from the local importexport store and Fong’s Floral
Fantasy, so I was pretty sure I was
safe in that department.
She kept slipping off to some
meeting here or there, once at the
library, another time it was at the
museum and another time it was the
local senior citizens center. If there
was some cult at work in our little
community, they certainly were
a wily lot, shifting their meeting
locations so often.
Sometimes when she was
working at her bench I would hear
her humming or chanting, kind of a
low murmur or something like that.
I’d check later on for black candles
or a pentagram painted on the floor,
and I fully expected to find a stuffed
goat’s head someday, but nothing.
That was the maddening part of it
all. She took to smiling a lot and
that made me more nervous than
ever. I knew something was afoot,
but I just couldn’t come right out
and ask. I just had to play along and
hope for the best.
I mentioned some of these goings
on to my friend Ray one night at
the Astronomical Society meeting.
His wife is in the rose society too,
and I thought maybe he had noticed
something new, but Ray just raised
his eyebrows and pursed his lips.
He does that a lot these days while
Continued on Page 17
“Tora” continued from Page 16
he keeps pounding away on that
infernal laptop keyboard of his. Ray
went high-tech a few years ago and
now puts all his notes on his new
toy.
The final tip off was that she
started
wearing
kimonos
and
shuffling around the
house in those little
plastic slippers and
sipping tea from a
tiny cup without a
handle while she
burned incense in
a fat little Buddha
figurine.
I finally got a
big dose of reality
when she murmured those six little
words that strike fear in the heart
of even the most devoted of rose
mates; “Make reservations for the
National Convention”. The National
was coming up in Boston and I
figured, just how bad could it be? Of
course by now you realize that the
little woman had decided to launch
her hobby of rose arrangements in
this unsuspecting seaport town. I
realize now that I missed a prime
opportunity to break a bottle of
champagne over her bow.
The hotel was delightful, but the
snooty waiter in the dining room was
something else. The first morning
Ramon approached our table with
all the enthusiasm of a blind snake
handler in a room full of irritable
cobras. Looking down his nose from
his exalted towering vantage point
above our table, he announced in a
tone guaranteed to discourage even
the most intrepid traveler that there
was a ten dollar minimum charge for
breakfast. With the tip I left, I hope
Ramon is seriously considering a
major career change.
We had arrived by car on
Thursday and I was mildly surprised
to find four suitcases and a box in
the trunk. Hard to believe that two
people needed that many clothes for
a four day stay. I was later to find
wear the same ‘uniform’. He wore a
dark blue sweat shirt and she wore
a pink stretch tank top. Towards
the end of the convention however
they did change clothes, she wore
the blue sweat shirt and he wore
the pink tank top. ‘Queng’ really
cleaned up as far as the awards for
I finally got a big dose of reality
when she murmured those six
little words that strike fear in the
heart of even the most devoted of
rose mates...
out that the newly emerged guru
of artistic design was also going to
be there and set the arrangement
world on its collective ear. I think
the wife said her name was Queng
(pronounced K N), so I figured
she must be one of these talented
women who devote their lives to
making oriental arrangements;
having even enrolled in an approved
school of Ikebana since the age of
conception. I was later to find out
that she and her husband flew up
to the convention from Texas with
eight suitcases and four carryons.
I thought they must really be into
changing clothes, but found out later
that their luggage only contained
materials for arrangements.
How they managed to get all that
weird stuff through the security
systems of several major airports
still amazes me. At any rate, they
apparently didn’t bring many
clothes along because after seeing
them several times during the
convention, they always seemed to
arrangements were concerned, and
my wife continues to follow her
amazing arrangements career.
I guess my wife will continue
to be interested in making flower
arrangements in the Oriental
Manner so I guess it can’t be all
bad, but I wish there was a course
you were required to take in high
school; something to prepare you
for married life. Maybe I’ll write a
book, too bad, “My Life as a Dog”
is already taken.
☼
Editor’s note: This essay was
forwarded to the editor by a third
party along with permission to
print. A memo followed advising
that the author prefers not to have
any personal information or contact
information published. The editor
has complied and understands
completely the author’s need for
safety in anonymity.
Rose Arranger’s Bulletin | Spring l 2008 17
Shoka Shimputai
By Lee C. Hale
[email protected]
Its simplicity of design and the choices allowed an arranger is outstanding and fits our everyday life styles.
Shoka is usually a three branch asymmetrical form of arrangement.
Shoka Shimputai was created in 1977 by Sen’ei Ikenobo, 45th Headmaster of the Ikenoba School. He used
flowers from different seasons and areas to create a new beautiful arrangement, Shimputai. The real essence
of Shimputai is harmony (Wa) by combining two or three materials with bright colors, high contrast, different
characteristics, and environments and shapes into a creative, asymmetrical arrangement.
Shoka Shimputai is adapted from our more modern life style. Shimputai literally means “new wind style.”
Usually two or three materials are used but are most often composed of only three main parts including flowers.
The first main stem (Shu) is the strongest line. The second stem (Yo) is the line that responds to the first main
stem (Shu). Generally, Shu and Yo face each other but they may also face outward, with back sides facing each
other. If the Shu and Yo groups bear no flowers or need additional strength, flowers or foliage may be added to
give further visual importance to the overall design. This third material is usually seasonal and is a Tai or Tai
grouping (Nejime). This is a great time to use (3 stems, Shin, Soe, Tai) sprays of miniature or mini-flora roses.
SHOKA SHIMPUTAI - Two Material Design
Design and Photo by Lee C. Hale
Ashirai - front - Rose
Shu - center - showing back of Aspidistra leaf
Yo - back - showing front of Aspidistra leaf
Ashirai - two Aspidistra supporting stems
Container - Bronze Usubata
Shoka Shimputai is based on the interaction of two main parts. Shu (the 1st main stem) and Yo (the 2nd main
stem that responds to Shu) with a third Ashirai material supporting the Shu and Yo. Shu the first main stem is
placed in the center of the kenzan. Yo is the material responding to Shu. The Shu stem should be the tallest,
largest, strongest stem and Yo should be smaller than Shu. The arranger should freely create his/her arrangement
depending on the characteristics of the floral material they are using.
In earlier modern (before 1931) Shoka Shofutai the tip of the Shin is centered over the mizugiwa (line
of stems) at the base of the arrangement. In Shoka Shimputai the two main (stems) materials form the
arrangement freely determined only by the characteristics of the materials themselves. Shoka Shimputai
does not require the tips of Shu to be centered over the mizugiwa (water’s edge).
Rose Arranger’s Bulletin | Spring 2008 18
Continued on page 19
“Shoka” continued from page 18
Characteristics of Shoka Shimputai
1. The mizugiwa is apparent.
2. The first stem (Shu) is placed in the center of the kenzan. Lines may be vertical or incline to the right,
left, front or back.
3. Three varieties of materials may be used including roses but never four.
4. Over all harmony must be achieved.
5. Dimensions of principal lines and supporting (ashirai) stems may be exaggerated in length or shortened
considerably.
6. Supporting stems including Yo may be eliminated but Shu can never be eliminated.
7. Modern containers are used.
8. Color, texture and form are stressed.
9. In and Yo may be ignored. (IN – shady, darkside, negative, opposite of sunny, YO - 2nd main stem in
some Shokas or sunny side, positive)
10. Lines may cross.
11. Placement of materials (lines) is the arranger’s choice.
12. Avoid clutter.
Design by Sandy Dixon
Photo by Lee C. Hale
Ashiria - front- Rose
Yo - middle - curved Bamboo
Shu - in the back - taller Bamboo
Modern Container
2 Material Shimputai
Design and Photo by Lee C. Hale
Shu - placed in center - Philodendron
In - in back - Weeping Willow
Ashirai - front - Red Rose
Yo stem has been omitted
Modern Shoka Container
Continued on page 20
Rose Arranger’s Bulletin | Spring 2008 19
Rose Arranger’s Bulletin
The American Rose Society
P. O. Box 30,000
Shreveport, LA 71130-0030
Non-Profit Org.
US Postage
PAID
Shreveport, LA
PERMIT NO. 3
“Shoka” continued from page 19
“Guest room in
Hachi-Ishi”
From “Japanese Homes and
Their Surroundings”
By Edward S. Morse
First published in 1886.
The most impressive Shoka Shimputai I’ve ever seen was while visiting Nagasaki, Japan. We stayed in a
Ryokan (Japanese Inn) and each guest room had a tokonomo (alcove) with an arrangement plus other art objects.
The arrangement in our room was a single large bloom of garlic. The stem (Shu) was very straight and about
two and one-half feet tall. This beautiful stem was placed in a small black iron usubata. The simplicity of the
arrangement was beautiful.
We should remember the first general characteristic of rose arrangements “In the Oriental Manner”: “There should
be simplicity in construction and restraint in the use of plant material”. Everyone can find some wonderful
plant materials out there – Let’s try not to use them all in one arrangement.
☼
Rose Arranger’s Bulletin | Spring 2008 20