Professional Documents
Culture Documents
3 3433 08191027 9
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JAPANESE
FLOWER ARRANGEMENT
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JAPANESE
FLOWER ARRANGEMENT
[IKE-BANA]
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
'
Ami
CONTENTS
PAGE
I
II
History
19
,.
Theory
III
IV
ment
Arrangements of Three Flowers
Vase
V
VI
VII
VIII
Flower Arrange.
4 r1
in
High
50
How
77
80
82
84
IX
XII
How
Flower Arrangement
Flowers in Hanging Receptacles
132
ASHIRAI
XV
XVI
122
124
XIV
1I3
in
XIII
89
AbES
Flowers Blooming
in
[9]
ng
7I
173
CONTENTS
PAGE
XVII
XVIII
How
When Flowers
alone
XIX
XX
XXI
XXII
in
195
200
.
207
[10]
191
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
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
23
and Grasses
...
....
93
95
97
99
101
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
Flowers in Hanging Receptacles
133
is
....
Upright
Arrangement
137
139
141
143
145
147
149
151
153
155
161
of
Pine
themum
163
[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
than
India,
was
more
ever
that
than in that
life
of
any other
of
nation.
When
the
art
of
art
flower
me
convinced
this
returned to Japan,
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,
with
many
floral
arrangements
am
sure that
all
life
who may be
led
[13]
INTRODUCTION
into trying this system for themselves will be
amply repaid
may
I
for
devote to
am
its
those
who have
have to teach
for
us,
lives;
is
so often
many who
No
other for-
[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.
them
all
all
later schools,
lines to
The
state
it
is
is
too unnatural in
its
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
school,
as
he himself states,
for
the
I'Sl
INTRODUCTION
reason that
its
adapt themselves
principles
But
my
many
experience in
most
Like
foreigners,
commenced my
its artificialities,
Koshin-Ryu,
The
school.
more
and
simple
and
pleasure
natural
benefit
have
Not only
not be estimated.
strengthening
but
also in
of
the
trees,
all
much
that
it
others
what
directions,
of
proportion,
of observation
all
plants
and
and improving
have gained so
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
INTRODUCTION
something of the others.
differ
only
same
Each
throughout.
school,
however,
The
order.
and placed
there
main
differently
also
is
by each
school,
same
Ike-bana,
in
Japanese word
the
made
and
but the
all.
for
flower
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-
is
history
schools
of
the
different
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
scientific
into our
and brings
growing plants
By
cerely
hope
arrangement
that
of
tained by
all
something
less
simple
flowers
who have
but
sin-
beautiful
may
be easily at-
felt
[18]
JAPANESE
FLOWER ARRANGEMENT
[19]
JAPANESE
FLOWER ARRANGEMENT
CHAPTER ONE
HISTORY OF IKE-BANA
TO
those
there
its
is
interested
in
Japanese
progress
is
is
his-
No
other art
art
foreign origin.
in
is
un-
Japan an
left
no
Buddhism was a
it
reached Japan.
flower arrangement,
its
present form
it
it
is
thought to
have sprung.
In
origin"
their
applies
as
well to Ike-bana.
by
influence in
its
quets
masses
its
much
erations ago.
The Chinese
an exquisite basket
this
basket
there
is
is
is
so
Greek
in
outline
But
that
it
Grecian or Chinese.
By
preserve animal
[22]
life
all offerings
to the gods.
Showing how
the
Arrangement
of
Ornaments
is
influenced
HISTORY OF IKE-BANA
While
the
in
priests
were
first
without system,
vases,
be
used
as
temple
ancestral
shrines.
Brinkley,
"What
of
the
and
offerings
Again
flowers
quoting
Buddhist
the
before
Captain
imported
what
to
distri-
The
with
first
flower arrangements
system
were
known
worked out
Shin-no-
as
hana,
five
seasonable flowers.
The
curves.
metrical,
and
this
is
in vases
without attempt at
general form
what we
arti-
was sym-
find in
Japanese
was the
first
The
plum
soms middle
distance,
the
or cherry bloslittle
flowering
sub-center.
The
many
schools
now
century.
end of the
fifteenth
Europe.
and the
Elizabethan period in
generally
room,
it
the
ornaments
only
in
interior decora-
exquisite.
tea,
and Ike-bana,
HISTORY OF IKE-BANA
Yoshimasa
flower arrangement.
time to the
fine arts.
sions
and placed as
all
time
commenced
It
is
said
ceremonial occa-
devote his
was he who
It
to
finally ab-
and
thought.
but should
then
Rules
to be formulated.
Japanese
ment, for
it
the
attribute
new develop-
grown the
of
principles
Koawase,
said to
the
the
arrangements
incense
ceremony,
may
be
Ike-bana received
its
great development.
[27]
we
will
find
them
all
lovers of na-
advanced
in this period
and commenced
sider natural
At
this
beauty
in a
in
crude
floral
way
to con-
arrangement.
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.
preferred,
still
Momoyama
Age, about
It
was
mony, reached
its
[28]
HISTORY OF IKE-BANA
Cha-no-yu was pretty certain to be also a
in
follower of Ike-bana.
The
style
struggle
existence
for
Rikkwa, branched
freedom of
dependent of
became independent
It was welcomed by
off,
as
of
and
line
natural
its
beauty.
So
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
revived
and
became more
the
Higashiyama Age
Rikkwa was
it
now was
art
as
an accomplishment
followed as a fine
classes.
accomplishment.
All of Japan's
most
cele-
[29]
art,
made
decisions
clear their
That men
action.
it
like
the
for
field
of
shows that
it
is
mind.
masculine
the
greatest
popularity
Age.
There were many works on Ike-bana published in the centuries from Kenei (1206-)
to
The
book
called
Sendensho,
published
in
the
and
was a
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,
[30]
concerned, they
and by these
pic-
HISTORY OF IKE-BANA
the
Finally
art.
most
valuable
book
and
the
Kenei
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-
and
At
this period
was
seventeenth
an
art.
Still
and
into arti-
l3i)
ficialities.
rival teachers in
Nageire existed.
on
the
it
From
this
time
name
of Ike-bana.
(178 1- 1 789)
In the
Tenmei Age
of
line.
At
exponents of the
com-
of
development.
After
Tenmei the
artificial
form of
This
is
HISTORY OF IKE-BANA
the present form, which has a fixed
rule or
but there
etc.,
still
adhere
exist in
Ko Shin-Ryu
and
Tenmei
Heaven,
adhered
They
ages.
of
feel
Genroku
and
of
Earth,
to,
uralness of arrangement.
necessary
ciples
the
to
use
these
It
is
absolutely
fundamental prin-
feel
Ike-bana practical
for use in
the
styles of
Western
enjoy not
In doing this
only
an
we
exquisite
are able to
composition,
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-
as helpful
in
producing
mythology.
theory.
Since
flower
arrangement entered
Japan from China with Buddhism, it naturally was imbued with Chinese and Buddhist
philosophy.
The Buddhist
serve
life lies
desire
to
pre-
rules of flower
life
of the flowers.
So
predominated
this de-
if
line
is
due, and
we
thoughts.
The
idea of good
and
evil fortune
governs
The
colors of
considered unlucky.
Red
some
flowers are
which are
flowers,
fire.
An odd
the
Japanese
attractive in art of
The
different
standpoint
any
members
are
description.
of the group in a
[36]
never
by such
classifications as
Earth,
Air,
and Child.
The
tion of
of that
tical
we
will treat
more
Consideration of the vase as being something more than a mere holder of the flowers
is
purely Japanese.
They think
of the sur-
its
natural conditions.
represents to
them the
rt
***
Mrt1\
[57]
Japanese put
They
in
give
arrangements, grouping
their floral
according
differently
flowers
For example,
of the year.
the
to
in the
the
time
month
of
the un-
prevail,
summer
In
no occasion
is
suggested
in upright vases.
by
the
which
manner
in
cannot
which
be
the
departure
from
home
announced
by
an
Yet hun-
by charming
flower compositions.
Japanese poets
comparing
138]
its
So
many
life,
etc.,
life,
many
fre-
is
and
is
arrangement made
the length of
parting,
it
celebrations
that
branch insuring
one branch
if
complete
used, as they
fire
suggest
being
occasions.
white
flowers
water to
is
quench a
many
houses everything
inflammable.
Red
so should be avoided
To
are
the construction of
suggest
form a
to
circle.
For a house-warming
fire;
made
is
celebrate
flowers
on such
an inheritance
all
may
may remain
felicitous
ones.
An
occasions,
offering
at
as
well
as
for
for
sad
death should be of
must be
in bud, so that
[39]
whom
to
the
may have
them open
present
quite
Western
idea
a
of
[40]
florists.
CHAPTER THREE
PRINCIPLES
AND RULES OF
JAPANESE FLOWER
ARRANGEMENT
How
THE
the
first
the support
or kubari
is
to
which
make
holds
vase so that
not
it
will
In
some
slip
schools
the kubari
is
plest
is
[41]
usually
Fig
one's
thumb.
one end, a
little
to one side of
enough
long
or
admit
to
all
make
notch
with
knife
and bend
until
Fig. 3
it
forms a fork
back
like Fig.
i.
prevents the
slit
It also
from running
No
in
^>. #
*?'-
in
PRINCIPLES
other
the
AND RULES
This
side.
make
will
long
it
and
it
fall
end
the open
and
first
horizontal
into
force the
position
with
other end.
put
the
at
vase
the
its
at least
tion without
made and
easily
will
This kubari
aid.
artificial
is
in
Another support
piece
of
different
better
made from a
for
large
great strength
flowers
is
in
(See
slanted
Fig.
branches
2.)
This
is
require
but for
Fig.
at
off
which
the support,
forked
is
all
the
[47]
stick
It
the
is
proper
Whereas the
fit
it
wedges to
the back.
fill
be
either
will
It
size.
first
and
will
require no
they are
shown
in
Fig
is
This
5.
is
not
used only in an
emergency.
in
high
vases,
but for
rings
148]
in
49]
CHAPTER FOUR
AN ARRANGEMENT
OF THREE
FLOWERS IN HIGH VASE
FIRST
select
principles
is
When you
material to
but
if
little
bending
necessary.
work with
obliged to
use
is
own
over;
branches or flowers
is
made
difficult.
Select
Earth.
Any
known
as Heaven,
ISO]
Man, and
main
principles.
Heaven
_ATt
Nbu+e
M3
Attnbute
E^ + h
i%
Heaven
....Man
E^v-th
'.'.
.
*
...
..
*
*
*
.
*
#
"*
*.-
...
*.*
**:*
>
*i
'
*
*
ARRANGEMENT
The
lines
IN HIGH VASE
of these
three
principles
are
Man
Eartb
Standing
Going
For convenience we
Running
will
always
call
these
may
call
same
same
position in
them, they
them in the
grouping and give them the
all
place
relative heights.
rules:
[55]
The
First.
is
By form
Second.
of arrangement to sug-
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
important.
This
stalk.
is
most
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
For
origin.
four
or
five
inches
if
This
is
156]
all
angles.
ARRANGEMENT
strength and
IN
HIGH VASE
a living plant;
strength, character,
and
style.
it
loses also
An
arrange-
at the base
not Japanese.
Fifth.
Sixth.
the composition, of
little artistic
value
if dis-
and from
it its
character.
Seventh.
Never
even
use
numbers
of
line
without repe-
in
these arrangements.
without
The
many branching
leaves or flowers.
willow, for
its
plicated lines.
is
pussy-
To work
with these
first
for
[57]
than
will
fuller
if
Work
end you
give
more
satisfactory
results
but
in
the
take no longer
any
less
satisfactory way.
When
is
Its
length should be
Man
in
length.
It
Earth
is
third
and
The
shortest.
It
should be
Man.
receptacle they
[58]
must
all
be bent into
ARRANGEMENT
The bending
according
the
to
HIGH VASE
IN
rules
for
is
done
bending given
later.
Now
or a line as
ble like
it.
nearly as possi-
Heaven branch.
It
can
never be
multiplied.
will
serve better
This should be
have bent
After you
to your satisfac-
it
but not
in
ment
is
made
to be
in.
be the
vase.
It
first
will
its
placed
in
be shorter
[59]
(See cut.)
this
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
it.
Man
Heaven
Hold Earth
in
in
exactly
lines
compose an
first
rangement
in their
fore placing
Earth,
right.
it
ar-
hands be-
in the vase.
after
following
at
pendent
cut)
line
like
this
decidedly
(see
lateral
It is
appear very
[60]
ARRANGEMENT
Now
place.
IN
HIGH VASE
commences
If
an upright
way.
firmly fixed in
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
Man
in
front of
formed by
it,
Heaven place
Earth
back
of
Heaven.
in
your hand,
all
the
branches; thus:
[6i]
For
if
left
you slant
finish
for
if
off
bending
it,
No amount
will bring
them
far
slanted off
all
must be joined as
Man
wrong;
Next put
it
if
if
they have
sides.
in the kubari
and
pull as
possible.
itself
When
follow
close to
stands
firmly
erect
by
it
[62]
it
is
goes in last at
pulled close to
the other
ARRANGEMENT
IN HIGH VASE
two.
The
large
Man
opening,
the
fill
they not
fill
Should
up with.
sticks all
fill
about
the space
back of the
opening there
the
filled
is
wedged
flowers
until
up and the
in place.
and
First observe
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
little
in the vase
and appears as
follows
[6s]
Then
may
little
to the
require.
This
is
make the
The
and appearing
as one,
[64]
a*
-a
j_
p\ IP.
Three Chrysanthemums
Any
ARRANGEMENT
ments most
HIGH VASE
from those of
differ
The
countries.
IN
rest of us only
all
other
from
growth
ground up to
To
parent
eye
has
become trained
recognizing
hold
it,
hand about
shown
the
until
stalk,
in the cut.
your
stems
the
in
as
Then take
water.
No two
branches must be
exactly the
same height or
They should
heavenward
Next cut
off
all
ill-placed or superfluous
By
this
is
meant
[73]
leaf
hides
another (cut
2.
every flower,
it
i)
or
as in cut
and
leaf,
shows plainly
its
No. 2
own
lines,
foliage,
or
must not
No.
of
any other
recklessly at
first,
part.
You
until
must be
result
[74]
this
put
in deciding
sacrificed.
depends entirely
which
all
cutting
is
in
the vase.
which flower or
When
rightly
ARRANGEMENT
done each
flower, twig,
clear-cut
in
appears
IN
full;
outlines
but
HIGH VASE
and
leaf stands
heedlessly done
if
out
and the
This
is
a very
at first appears,
It
is
not so
difficult as
however.
bud
for Earth.
flowers,
If
position,
half
covering
it.
This
is
Do
it is
allowable for
branches to bend
at their
[75]
Heaven.
be
cannot
is
is
leaf near
and
76]
it.
flower
to
the flower,
sucker.
made
leaf
its
CHAPTER FIVE
THE TWO PRINCIPAL FORMS OR
STYLES USED IN FLOWER
ARRANGEMENT
and Yo are the names of the two
IN
styles in
In
to
the
Yo
the
is
is
female
style.
It
has
Earth
right.
These statements
may
it
left.
are
given
from
the
Japanese
standpoint.
many meanings
When
in.
Earth
"Yo"
should
or
towards
project
Otherwise
natural
the
sex
Heaven
decidedly
curves
of your
or
of
the
flowers
arrangement.
central
In
widest
male
the
the
bend,
flower has
make
let
decide
So that
if
naturally a
feminine
ar-
right.
i?8}
put
Earth to the
in
left-sided
the
hollow
arrangement.
is
\79\
CHAPTER SIX
TO
MAKE AN ARRANGEMENT
OF
FIVE FLOWERS
ARRANGEMENTS
branches
are
of five flowers or
called
Gogyo.
They
No.
represents Heaven.
No.
5 represents Earth.
Forming "Steps"
In
If the
if
"Dan"
flowers
or
or
Man.
many
like
this:
flowers or leaves,
[80}
ARRANGEMENT OF
flowers
or
leaves,
as
FIVE FLOWERS
the case
may
be,
in
This
is
is
called do.
Never use
[8i]
CHAPTER SEVEN
HOW TO ARRANGE FIVE
CHRYSANTHEMUMS
SELECT
shape for
would
and No.
for
5 for Earth,
The
most
material
striking
or
most
must be used
beautiful
in the
more
trifle
fully
or
bud.
flower,
Heaven can be
opened
The
tasuke of
either a half-opened
For
Man
use
flower
half-opened
Earth should
[82]
One
chrysanthemums arrangement
completed.
183]
CHAPTER EIGHT
RULES FOR BENDING FLOWERS
AND BRANCHES
BENDING
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
Hold
in the cut.
[84]
flowers in your
hand as shown
fingers.
bend.
trifle
as
you
Do
branches
will
will
All flowers
and
if,
before arrang-
chill
taken
off the
water
will also
make the
These
large,
Small Branches
tough
branches
can
some-
[8f]
and
blossoms
The branch
the
to be bent
flowering
is
shrubs.
Another
branch
for
method
tie
down
the
to branches as
Branches
to
is
may
if
any part
visible
The
is
last resort
to use wedges,
[86]
which
is
one wishes.
It
is
done
may
their
be curved as
in this
way on
the
Make
(See
pieces from
v v v
forming pieces
like this
[*7]
Another way to
stinate branch
facilitate
is first
to heat
bending an obit
at the place
it
Bending of Leaves
[58]
and
iris
is
The
foliage of daf-
CHAPTER NINE
WATER-GROWING BULBS AND ALL
ARRANGEMENTS MADE IN LOW
BROAD RECEPTACLES
LEAD
always in the
holders
are
low receptacles.
flat,
made
many
in
These
shapes and of
shape of
holder
is
turtles,
etc.
fish,
An
attractive
The
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]
and
tied
in
if
you
You
could not
commence remember
that you
appear well
in
it,
and which
grew.
Should
the
plant
WATER-GROWING BULBS
have been growing
its
natural
habitat,
in or near the
make
water in
the flowers
and
<$3
was growing.
When
them
ciples of
these
vases
flat
it is
Man
Man
better to
make a
But
in
separa-
in
in
front of Heaven,
and Earth
in
an
itself,
group.
it
These
lead rings were devised with the idea of leaving openings between the groups of flowers
=vJ
swim
in
and
[92]
rr-^TjT
Simple Arrangement oj Iris
-7
Arrangement
oj Yellow Lilies
Arrangement oj Three
Irises
7
V
Iris
and Grasses
Different
Ways
ik
^z.
$t
5+
%
Simple Arrangement of Leaves
TILC
h&*
rrangemeni o/
Common
Ke
ou Lily
//
WATER-GROWING BULBS
Such openings
left
sakana-micbi, or
fish
known
as
highways.
It is
let
of the vase.
The edge
is
considered as the
it,
pointing upwards.
The
holder stands
placing
it
work.
in
To my
thinking there
no arrangement of
flowers more beautiful than these in the low
vases,
is
quickly.
[iog]
is
tion.
low,
There
broad
is
proportions
of
these
The
arrange-
on the
other,
which
is
not
conducive
to
conversation.
In these
will
flat,
make an
Use
attractive arrangement.
Man, and
five
[no]
If
reeds,
WATER-GROWING BULBS
which would naturally grow at the water's
edge, use the foliage of daffodils or narcissi,
and you
flowers.
ration.
On
the
the
something
and
Man
stone at a
Earth.
like
stones
little
The
these.
stones
Place
should
the
be
Heaven
lui]
bit of
moss on the
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
of trees.
in
other
all
We, not
much from
so
as lack of thought
ignorance
in
in
and spreading
as
The
they grew.
let
the main
In this position
it
forms
thus
making a small
its
branch of
branches,
the
tree
tree.
[113]
them
for,
and
use
them
for
their
most
as flowers
important
arrangements.
into a
Vase
without a Support
maples, or
trees,
either
from
will find
that
By
balance.
perfect
summit
the extreme
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
out of balance.
If this occurs,
bend one
other to the
tightly
[
we mean
attractive lines
vase as
this
into
split
left
right
and the
on opposite
114]
to the
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
split
ends
it
apart, as
shown
in the cut.
make most
they
be found to
striking decorations in
large proportions.
more
will
They
will
rooms of
be found
much
and
them.
I
121]
CHAPTER ELEVEN
AKE
"cut
off here
aside
[
saw
in
for
122]
branch where
it
divides
for
Man.
Man
branch."
Lay
this
join
SYSTEM OF ARRANGEMENT
at
marked "cut
off
for
The
three
branches,
when cut
accord-
off
shown
the illustration.
123]
in
CHAPTER TWELVE
HOW TO SUGGEST THE SEASON
OF THE YEAR IN FLOWER
ARRANGEMENT
THE
to leaf
in the flowers, in
is
leaves,
and
in
autumn
while in winter
it
it
In spring the
summer
it' is
in the
fruit,
and spreading.
slightly
the
let
your
flowers
back.
Heaven
is
[124]
be loose
Man
let
some
High Wind
Influence
r
i
An
Arrangement
suitable jor
when Winds
are
February or March
High
Do
this also
Let
forward
Midzu-giwa
the
base where
the
be
shortening of this
all
The amount
plant
about three
short,
The
inches or so in length.
life is
it
look
and
full
at that season.
vases are
at the
the stems
all
place
are
full
to the brim.
to
is
In spring,
overflowing,
The Japanese
and look as
actually
if it
spill.
Summer Arrangement
In
summer
use
great abundance.
water
Make
other season,
about two
inches
in
length
full
[
and
I2Q]
spreading.
much
Shallow
possible.
most
Autumn Arrangement
In
or yellow leaves
in
time.
Make
your arrangements
less
full,
using
for at this
beginning to
fall
longer,
about
The Japanese
tell
us to
make
at this sea-
By
this
we should
line
Winter Arrangement
In winter arrange flowers with few curves.
Make your
[
130]
flat.
Man
to the front,
Each
bend
them rather
backward.
line
of the tree
Midzu-giwa
is
is
other season.
this
clear-cut as
All plants
time.
The
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
in this
vine in an upright
can
fall
it
in
hanging vases
Man, and
est
it
Earth.
Heaven
is
still
the long-
This
is
is
to
[132}
Third
ten
days
+&
Hanging Moon
Hooked Vase
Out-going Boat
Standard Arrangement
Hanging Bloom
AW
/,/
/ /
K/
Morning
Glories in
Hanging Boat
&
Sitting Boat at
Anchor
Boat
Bow
on with Iris
IOX
T1L.D
.
^^-1
AND
ION8.
^Mr-.-
Morning
glories.
glories should
full,
open
flowers.
One
that done in a
is
on the left-hand
illustration.
day
side, as
This streamer
until the
is
shown
in the
shortened each
is
put in at
day
when a
the back and
to the front;
at the right-
hand
last ten
days
it
is
side.
The boat
in its various
perfectly described
a few examples of
Tree
vases.
flowers
and shrubs,
it
is
When on
rations
the vase
or
of flowers
arranged in
it
itself
between the
is
ceiling
The
nail
on which
floor.
The
longest
floor.
['S8\
CHAPTER FOURTEEN
ASHIRAI
ONE
arrangement
it is
master.
also
It is
is
known
as
Ashirai;
difficult to
flower
is
way
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
one side or a
ment.
trifle
By no means must
arrangement
in
front,
it
cross the
by any of
its
main
leaves,
the main
distinct,
flowers, or branches.
[159]
ASHIRAI
The
call
"ideally" sep-
exquisite.
is
you have
finished
charming.
How
As the
to
Arrange Ashirai
original groups
No.
the Ashirai
is
fill
it
completely,
No. 2
[160]
This holds
be arranged
*\
4
ft
A
4
co
<t
Sfi// another
Arrangement oj Asbirai
ASHIRAI
Another excellent Ashirai
support
is
already shown.
ment
in
In this the
main arrange-
is
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
branch,
will
be formed by the
Ashirai.
No.
[i67
from a
No.
full
2 represents Ashirai
main stem.
No. 3 Ashirai
is
main stem.
too close to the
"ideally" arranged.
The
is
It
admi-
marked
by a long line at the right of the arrangement render the whole thing very effective.
in
an Ashirai arrangement.
U68]
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
vase
onal, place
is
in front
sides,
and
not
[171]
SHAPES OF VASES
But
if
is
a low
the
sides
the vase
of
angles.
Vase
the
If
the vase
to
is
it
and a
half the
height of a flower
of
Heaven
In low,
height
is
of the
vase.
The
to the water.
flat
is
taken
and a
172]
make
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
in
advance of
Heaven and
Man
will
be made
may
Earth
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
fruit
forced out of
January
\.m\
no
charms
for
him.
In
presenting
may
them
in
experience the
a branch of a non-flowering
its
leaves
were
[i74]
moon
4-
^*~*=* ^*
.v
-r*|
and
Iris
CHAPTER SEVENTEEN
HOW TO ARRANGE FLOWERS IN A
VASE OF
TREES
MANY
are
or
yo,
all
when they
SECTIONS
masculine,
so
and
put down
flowers,
ment.
is
a hanging one,
is
supposed
to
look
like
its
foot
A poem
dear to
all
and
its
is
mountain,
in the valleys.
is
very
lovers of Ike-bana:
Musashi no
ni
takaki
Tokonatsu no hanna.
[i79]
"
MANY SECTIONS
VASE OF
"Upon Musashino
pillow of grass,
but
it
and
prairie
lie
with a
vase the
idea
this:
is
be plants which
in the next
in
the
lake level.
Thus plants of
all
altitudes can
may
be changed,
but
the
This order
three-sectioned
like the
illustrated,
The upper
place
is
with water
is
filled
is
is
one
used.
[so]
>s
be tied in
CHAPTER EIGHTEEN
WHEN FLOWERS ALONE MAY BE
USED AND WHEN LEAVES ONLY
THE
is
arrangement
and
leaves;
natsu suisen, or
may
summer
called
narcissus,
shiba.
Such
come
Man, and
When
a plant or tree
leafs
must predominate
few blossoms,
in
the
unimportant places.
we
or aspidistra as
It
can be had at
all
call
it
is
much
slender
leaves.
used.
They
are
also
as
the
its
long,
easily
bent
You
will
is
is
curled
is
supposed to contain an
leaf that
ered
leaf
insect.
wormeaten or torn
and
desirable
nature
plant
is
up.
One
consid-
arrange-
all
without
is
seldom
one imperfect
leaf.
Working with
tise for
[192]
aspidistra
a beginner.
is
excellent prac-
Its leaves,
being easily
In
arrangement
also,
Therefore
many
different
its
give
examples of arrangements of
aspidistra.
It
all
is
that
will
find
folds
around
its
two should be
shown
Heaven
it
you
usually
attribute.
These
tied together, as
and
left
The
curled
leaf
made by
is
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
193]
the
injure
leaf.
Aspidistra
is
but
the
improved upon
way
194]
nature
of
its
its
natural
growth
is
CHAPTER NINETEEN
SEX IN FLOWERS AND TREES
Japanese are fond of applying a
distinction of sex to inanimate things.
THE
They
and
female
female rocks and stones, male and
waterfalls,
and
etc.,
same
this
distinction
is
carried
the yo or male.
The buds
perfect
are
flowers
female;
are
and
male;
and
opened
fully
the
over-
leaves,
a contrast of color.
though
The
front of a leaf
merely
it is
in
If
two
the
is
leaves
cut,
the
[195]
is
is
feminine.
Leaves growing
while
sunny
the
in the
shade gain
becomes
side
luster,
Iusterless;
luster
is
in
and the
Flowers
may seem
in.
much common-sense
is
and one
finds
that
much
freshness
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
side
line,
it
presented,
mascu-
the
represents
feminine
is
must
in
way
is
the
and
if
it
buds
open flower
above
it.
leaves,
as a
always
in.
for
This
bud
at
the
top
have a
half-
bud should be
free
from
is
blown flower
The peony
Earth position.
would droop
it in
position.
flexible
in
applica-
fol-
197}
in
explained,
the other
of
must
flowers
also distinguished
yo.
same
The
of flowers
colors
Purple,
distinction.
are
given
this
red,
pink,
and
This
guides
different
one
colors
in
in
arranging
and
highest
White
position
to
flowers
of
tant
flowers
this
of
in
most importhe
rule
every
is
group.
white
variety
199]
CHAPTER TWENTY
JAPANESE FLOWER VASES
ALTHOUGH
the
all
others a greater
and
in form,
made
mate-
ways be placed
and probably
in
in
al-
an appropriate receptacle,
for
what
will best
prolong the
in their shapes
life
of flowers.
the vase
itself,
position, having
ic
200
as
we
upon
1V
as necessary
is
it
receives from
remains sweet
much
so quickly
it
becomes
foul.
Many
are
fanciful
signifi-
in
an esteemed
friend
should
not
be placed
and hung.
on top
is
supposed
The
cut, or opening,
for
And
large,
to
the
in the
round sur-
represent
nail
the
a star.
is
called
it
possible to arrange
[203]
They
placed.
and variety
alone outnumber
beauty
in
all
combined.
Again,
when we come
never
their
the
soft
more
taste
failing
show
the choice of
in
Could
shades.
pastel
clearly
This to them
bronze?
for
seems most
mother earth
therefore best, as
than
their preference
like
anything
it is,
and
in color,
What a
represent generally
The bamboo,
contrast to the
silver vases,
little else
which
but their
cost.
and
neutral color,
But
pieces
of
[204]
while
vases
made from
in
it
to
solid
this
variety of
made in such
shape from bamboo reeds, with
their color
assuming the
soft
brown shades
all
Not
any climate.
to be overlooked
vase found
in
is
the simple
peasant
home
at no cost
and
made with
place
little
anywhere
effort
in
ourselves
selection of
beholding
much more
critical
the
all
most
in
we
we grow
[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
the secret of
skill is
tell
of no avail.
their
The drugs
death-
for
most
as important as the
the
flowers
arranging as
main Japanese
"must be
to
enough water to
so
rule that
prepared
them
keep them in a
enable
to
really
before
suck up
fresh condi-
[207]
made with
This
is
why
we have
position
at the
neck.
filled
foul
by the stems
and
The
having
that
also allows
their ends.
The Japanese
also
remove
all
This
life
is
below
not only
foliage
it
adds greatly
[208]
which
is
so injurious to plant
life.
system
preserving
of
and
plants
which
in
helpful
for a
long time.
into
three
and
So.
them
making
in
periods
known
divided
is
Shin,
as
very
freshness
retain
This method
Giyo,
and
also
is
months,
spring
September,
October,
The season
the year;
flowers
of Shin
therefore
is
it
necessary for
all
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
do as well
with string.
short.
Tie the
fifty-eight
grains of
[209]
(see
When
ter).
plunge into
it
ends
being
whiten,
water,
in
warm and
very
in
wind.
for
steam
to
Then plunge
not
careful
When
weather
the
way
but when
season,
the
is
weather
just to boil
exceptionally hot,
is
normal at
this
and
foliage
must always be
Flowers
carefully
pro-
put should be
The season
it is
in
a deep receptacle.
months when
and
it is
[210]
fresh.
may
be
preserved.
longest
Wrap
as
in
to
well
is
it
a charcoal or coal
fire in
which twenty-nine
can also
it
Sansho
holding
until
put
in cold
in
flowers
water,
Ice
arranging.
before
should be used.
night
usually
is
warm
winter,
in
of
out
doors
for
long
time.
them stand
all
in
that
is
necessary
is
to let
camelia
may be
To keep
a magnolia, split
of each flower.
[211]
in
the
openings
for
made;
two or
three hours.
secretly
held back
by the masters;
or,
more
give
liberally
of this knowledge.
In
was impossible
but
it
out
all
master's
[212]
for
any student to
find
when
to
favorite
pupil
fall
and
his pupils,
this for-
tunate follower,
in the
master's
lifetime
idea of
becoming
edge
To
knowledge.
his
his successor,
all
the
knowl-
by word of mouth.
Formula for Preserving Summer Plants
=
Salt 3 zo =
Sake \ sho =
Mint 20 nomme =
Water
sho
bansho
Mogusa
Mustard
Put
all
minutes.
"
three together.
When
qt.
\ oz.
pt.
i\ pt.
58 grains
=
=
five
[213]
CHAPTER TWENTY-TWO
IKENOBU.
700 A.D.
most beautiful of
The
my
is
the schools.
all
first
Since
This
this
school
is
in
down from
still
ner.
The
priest
instruction falls
I
at
is
is
never enjoyed
the
temple
whom
on
my
arrange
more than
There at the
lessons
your
flowers
[214]
mantle of
Rokkakudo Temple.
you
the
under
when
the
the
Ikenobu
himself
verdict
final
on
appears,
give
arrangement.
every
After
to
in of the
him about,
in
an instructor
temple
to your
course,
will
own
in the
will
be
If
class.
you
residence, but
he, of
This school
and
its
is
a development of Rikkwa,
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.
by Oun Hoshi
or
Matsune
333-1402.
HlGASHIYAMA JlSHO-IN-RYU.
[275]
who was
Jishoin.
Higashiyama Dono or
called
Branches of
Higashiyama- Ko-Sei-Ryu
Senzan-Ryu
Higashiyama-Ryu Soami-Ryu
V. Senke-Ko-Ryu.
Bisho-Ryu.
VI.
Originated
by
Goto
Bishokui Dokaku.
VII.
Daigakunokami
or
1545.
Enshiu-Ryu.
Originated by Kobori-Enshu.
The branches
578-1 647.
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
Tokugawa dynasty.
I
216]
600-1 624.
Sekishu-Ryu.
masa.
1604- 1673.
X. Jikei-Ryu.
Originated by Shouken Jikei in the year
1699.
XI. Togen-Ryu.
sogensai
murakumo-ryu
Shikishima-Ryu
Toko-Ryu
Donin-Ryu
XII. Gengi-Ryu.
in
the
year 1772.
XIII. Misho-Ryu.
Originated by Mishosai Koho.
XIV. Sei-Ryu.
Commenced by Doseiken Ittoku
XV. Shoko-Ryu.
Commenced by Hakusuisai
in
804-1 861.
in 18 18.
the year
1896.
[217]
is
much
controversy
different schools as
uity,
among
these
erally accepted.
due to the
difficulties of translation
Japanese chronology,
[2,8]
ask leniency.
from the
ty.