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IKENOBO SCHOOL
 Vi es
Et a\-y
ReseFe
| ‘ ‘

A Picture of Rikka Arranged by Senko

We can find records concerning Ikebana already in the middle of the fifteenth century, the
kind of works growing more and more abundant and multifarious by the first half of the
seventeenth century. This is due to a genius coming out, Ikenobo Senko, who brought the
rikka-form to completion, by showing moderate tension and beautiful space born of concord and
repulsion among various flowers arranged together by himself.
This picture shows one of his works, 93 figures in number, handed down to the Ikenobo
family, and known as the work arranged at the Sento Gosho (the ex-emperor’s residence) in
1635055:
 BEST OF IKEBANA

IKENOBO SCHOOL
by

SENEI IKENOBO

translated by Yoshimasa Ichikawa

SHUFUNOTOMO CO., LTD.

Tokyo Japan
 Copyright ©, 1962, by

SHUFUNOTOMO CO., LTD.

All rights reserved, including the right to reproduce

this book or any portions thereof in any form.

Publisher

SHUFUNOTOMO PUBLISHING CO., LTD.

6, |-chome, Kanda Surugadai
Chiyodaku, Tokyo, Japan

Exclusive distributors

JAPAN PUBLICATIONS TRADING CO., LTD.

Central P.O. Box 722; Tokyo, Japan

Printed in Japan
 Contents
chapter
page
Ole VOLE ter ee Or ear Me 2
Bovmaationmol |cepana ayes os eB Be. 3
Wiienmationsors licebatia arenas cnc. bycn ts say ae 0k obs he bcuseae cen: 3
Mcleamicimeice aiid eae ENE Tee acl BO ac nw, be a ko 4
SUCH MRR etl IECISEN
GY yc ee eee ee ee a 5
Fundamental Form of Ikebana .. 20.0000 ooo ooo cc ccc cc ccc cccccceees 6
Ostutema lmceban awe ated 550-8) 0) ee. ete Rea Lae ann eee 6
Das CMROLEUCTUrem Or wie DATA Boar Quen Cues es sees NA ee eh ee 8
Ioio DOLCIODMEG baCOAT e cas Mane ol tye ache 4 ave eee On ela CA 10
Deveopmentwot the Form of Ikebana ..........<4..0pue
es... soe
e 12
[RIMES oa, es en ciel aedele aa Ace AR etree EON ERY Te etenter Sea ae A 12
(Gy gSSETSE ceric tn eee ene 2 ee eae 14
S)SVOIREN 0 009, eae sats Ueth aerate oe ey ee eli ce 17
INEREZSTES SS ORS oteae Ete Dae NE a es TS Oe re, NRT re Oat 18
INVNSFerT SERVES SCSAcree a feIe Ip RO ae ee Oe eee NS Cae 19
Deo pmcntwot-tormative Representation. . aa... dcgciin. osu one 20
Sisvle Git USS Seyi aT See es rea nanled eNO RAeh elena ae SC NRO ay ecat Ae 21
INGEST, Cooe3 an Sgt ek eae a a ee ene an ee RS oe 21
RAO ENS eer Bee mits Seees, ya Ok Ves, es We Ok. Che Bente fe cle aes 22
cel te OO ie IO Se Seer nacional nik ceSaw Pd eR Roce 23
ROTA” “De: cic SN Ss penne nhs taar ne eae eR rer Ae Le Dor eer a eee teat 24
Nageire ee eR ete che atRRR ee I oS, ys Ree | UIA OD A Wasi es tstae ae 25
Mecnodmolee \iranoinged Vageite: 00 ca tnasr ih aeren haste eater AG
Moribana== ...- PI DIN 8a ha Bip Aer ME 2 an ete ods 2 ONG 35
Dictinod money stsati ollie aVor bata aii) cerca Os ono 36
PT Sy MC mR ICCTA ATIC eee thnk ek oe, ST eS oe ee eR 37

RormativesWevelopment,of Ikebana —s—— .. hhee 42

ieepanaeoLstae: “niiual sand 1Special “Observances, 45 1256.1 46
Wem (yer Omtnew 10 ca SPO. se. io os hen we nn eae nt ues a
(Slss i, ofSih ak meme RON Ole ae A nece oes ay od 53
Piothod more eran ginowohoka nuns sug ating Shak, ase oor erase eas a ae 58
Peare Rn ON ah NS en ohShek Mui ByPie at nde BE Ce Dg Scand ayaa eeead 72
IVietnodecte \itatis ton Rika io. seo inetd mettre ote ye me 74
History Be DCACEVEEE Se ae eee ee ee eae ara ee A 83
Origin Ot sPlower-atranG@ement (222. ie en eh tet ee eee 83
Inserted Flowers of the Primitive Stage eee eee eee eeee eee. 83
.......---.
Establishment of RAPS
BEVEEF AlN cy Oke ma Sina Ge Timea er monet Si eRe aaa eure Sra a at ae 84
Completion Py TORS TLcretina eae Meretein arn one ate ae ance wean aie aig haan, cuesh Jeyne) ee 84

Rikka in the Period of Full Maturity essen eee eee eee, 85

........--..6.
Development of the Nageirebana Sy Ree a oe pe ee PER AO ae REE rea 86
Establishment of the Shoka-form I rN Pees wae a fogs Pome SANG Rok, vekiocorcslnacrattomeiae 87

Origination of Nageire-moribana COMET Or ee EO Oe eR eee 88

 Foreword

Blissfully embraced in Nature’s arms, lovely flowering

plants stretch stalks or branches and make their own
flowers bloom. The Japanese Ikebana came into existence
when people did come to realize the blessing of Maternal
Nature.
“To arrange flowers” as is expressed in Japanese as “‘to
make flowers live” or “‘to restore flowers to life,” does not
mean merely “to arrange flowers in elegant style,” but “to
give to flowers inserted in the vessel the activity that be-
longs to those having vitality.” Through the act of ar-
ranging flowers one can realize Gods’ blessing that per-
vades all the universe and will be given eyes to see his own
road to life.
That the Japanese Ikebana has been inherited to this
day over hundreds of years, is because that something
which supports human souls can be gazed at in this floral
activity, which has properly become expressible in the ar-
ranged flowers.
The Japanese Ikebana expresses human hope and
dream of life itself, just in the arranged flowers.
From such a standpoint I have tried in this book to de-
velop its whole contents, taking formation of Ikebana into
special consideration, so as to be helpful to the readers
with respect to their good understanding of Ikebana,
hoping that all the people on earth will be given an op-
portunity that urges them to unite in a body through
their warm heart loving flowers.
March 1962

Senei Ikenobo
Foundation of Ikebana

Origination of Ikebana

Human beings and plants, together with they shoot out buds, extend new branches,
all the living things, keep their continual and let themselves bloom in the due season
growth by virtue of Gods’ blessing which respectively.
envelops the entire universe. A man, from And yet, flowers bloom for a moment, only
ancient times up to the present, was and to let themselves be blown off directly.
is often deeply moved by looking at beautiful Plants have such a destiny that they are on
flowers, holds them up to his enjoyment, and the one hand firmly rooted to the earth, with-
arranges them in his room to decorate it, so out freedom to move about, while on the
as to enrich his daily life as quite a com- other hand they are naive but energetic in
fortable one. Here comes Ikebana to appear the effort to live through, and most sensible
then, when one feels an impulse to look at to the blessing of the nature. Even in the
these beautiful flowers near around him. posture of a single flower, the foundation of
Our ancestors, however, has had long led creation, with its variation, can be traced.
their lives together with birds and _ beasts There lies the foundation of Japanese
amidst the beautiful, successive alternation Ikebana, where one catches deep insight
of the seasons; they regarded singing of birds into these structure of the nature itself.
and growling of beasts either as longing for
companions or calling for the other sex; they Ikebana doesn’t merely aim to arrange
also felt sympathy even toward hills and flowers into a certain form; it aims rather
waters, grasses and trees, for the latter were to grasp the configuration of vividly grow-
equally looked upon as the same living things. ing, elastic force of plants, which fact implies
Birds sing, flowers bloom, even a rolling human earnest desire to come in touch with
pebble, according to our hopeful legend, is the foundation of the creative power, through
imagined to grow up into a huge mossy rock. various floral figures. Analogically speaking,
From such a view of the life and the world, it doesn’t attempt to admire a ““waxen man-
blessing of Gods is thought to be poured nequin” as the beauty, but the very act itself
upon everything on earth, continual growth of the “breathing human being” is the object.
and afternation are brought forth under the By arranging flowers,—when ideographi-
mercy of Gods, and even difficulties some- cally written in Japanese, this phrase means
times suffered are considered as the divine “to make flowers live’—, or by looking at
tests imposed upon us. When we observe the figures of arranged flowers, we can listen
the surroundings with such a thought which to the words of Gods. Ikebana has thus
regards the will toward growth as the subject come more and more developed, rendering
proper, the paved way to Ikebana appears. both the arrangers and the spectators to
Enduring harms by rain & dew, and strug- keep themselves as elegant as blooming
gling against wind & snow, plants accomplish flowers, and displaying the art as the act of
their incessant change of themselves, while wishing Gods’ blessing on others also.

(3)
 Idea of Ikebana
Beginning with first acknowledging the flowers, that is, the features by nature, from
active force of plants, next, through this the changes by the natural environment,
knowledge, realizing the principle which pro- nominating the former as the “inborn na-
duces this force, that is to say, the creative ture”, the latter as the “nature”.
original element that makes the universe, Ike- It may seem unsuitable to a soul which loves
bana is formed into some shape from such a flowers, that an arranger often cuts off bloom-
standpoint. An old saying, namely, “to know ing, beautiful flowers or graceful-shaped
the act leads to understand its subject,” pre- branches as if without mercy, but in fact he
cisely points to this matter, the ‘“‘act’” meaning only attempts to follow after the mysteries of
action as the phenomenon, and the “subject” the Creative Nature, by making clear the
the subject proper as its substance. These true features of the inborn nature of flowers,
states of things are revealed even in a single Phenomena in this world are not necessari-
flowering branch, and flower-arrangers dlis- ly gratifying, yet both human beings and
tinguish this force of spontaneous growth in plants are always favored with blessing of

Lkebana cannot literally express the passage of time, as in the case of dramatic performance, but, grasping
a cross-section of it at this moment, tries to represent 1t. For instance, by comparing a flower in full bloom
with one that is just going to bloom, all shades of flower petals give us the actual feeling toward vividly
growing things. Also, difference of direction between a group of pine branches extending themselves upward.
and another consisting of branches stretching sideways, makes the motive of the growing force, and denotes
the real feature of life itself.
Betwix any two flowers of cametlias also exists the same elastic force; as well on the branchlets of a pine
tree, as in the sloping line of sidelong spreading flowers, a force to extend still farther is revealed uniformly.

(43)
Gods, and are endeavoring to construct
peaceful and satisfying world. The forms of
Ikebana picture to themselves such ideal
images full of Gods’ blessing; the forms of
plants inserted in flower-vessels constitute
the ideal images by possessing such spiritual
force penetrating to the broader space be-
hind the present visible shapes. Rules and
Structure
What Ikebana seeks to represent is the
figures of plants which do grow up, in other
words, the effort of plants pursuing the ideal.
“To arrange flowers”—to make flowers live
in Japanese—implies “‘to find out the funda-
mental” constituting the order of “growth”,
and to figure out the final ideal, just in the
natural action of the flowery branches. That
the force constituting this elemental comes
to be revealed, it is considered, is based upon
the act of the two antagonistic forces; one
is called “the negative”, the other “‘the posi-
tive”. Human beings live their lives on the
borderline of life and death, tracing the path
of destiny between light and darkness. Life
is “the positive”, death “the negative”. The
positive is the force appeared on the surface,
and the negative is that hidden in the interior.
These two forces, somewhat like the two
electrical poles, are incessantly in motion, the
‘positive turning into the negative, and vice
versa. From the invisible microcosmos up
to the universal macrocosmos, every phe-
nomenon depends on the combination of
these two forces.
Life comes to appear in a bud, when the
negative turns into the positive; the latter
taking active part is filled with fresh energy,
flowers then bloom, inviting butterflies, call-
ing for insects, and in the end the positive
turns into the negative again, leaving behind
it seeds that will make new development;
that is to say, “the positive turns into the
negative”, so as to wait for the next spring.
Thus the alternation of the negative and the
positive is there repeated forever, where
melodies of life are heard and the rise and
fall of function in general is developed. Such
is the heart of a flower-arranger, that seeks
the youthful extension there revealed—lively
growth, healthy stretch, mild brightness,
techniques in Ikebana have been introduced
into our art from such a viewpoint that this
visible form can be considered “‘the positive”
—yoh, invisible one “the negative’”—in, the
two elements mutually intermixing together,
sometimes repulsing, sometimes pulling
against each other, to the effect that a new
universe is re-produced.
of Ikebana
brightening joy, graceful loneliness, and
modesty with which the plants wait for the
coming spring. And there again is main-
tained a man’s attitude to believe in the
possibility contained in “‘future’’, and to trust
himself to the strength and will of life. This
means that, while obeying the law of “‘the
negative and the positive”, there is seen such
a state that ‘“‘a man” has become the subject
before he was aware, participating in the
creation of the universe. Identifying “the
positive” with the heaven, “the negative”
with the earth, “the man” constitutes in some
sense the center of creation by following
after “the heaven and earth”, himself being
situated between the two.
An elemental origin exists in the beginning,
which develops into “the two”, “the negative
and the positive’, and to these “the man” is
added to make “the three” in all Such is the
structure of Ikebana. But Ikebana cannot
express the passage of time in the phe-
nomena. We cannot expect a plant just on
a vase to grow up and change themselves.
Ikebana comes into existence by grasping
the endless current of life itself at one
moment. By suspending the act of eternal
life, the will and joy toward growth should
be felt and comprehended more suggestively,
and for this purpose, arrangement of flowers
shall be in such a way that there exists such
an organic combination in which they can
indicate the past, or speak of the future,
respectively,
Drawing up a long history of its growth,
Ikebana has been pursuing deep joy to meet
with the present time profoundly blessed,
though diverging itself into various shapes
differently formed, yet keeping in mind the
admiration to the centralizing life as it is.
(>)
 Fundamental Form
of Ikebana

Posture of Ikebana

Ikebana displays a world ot the beautiful, which is selected.

It looks just like as is in nature, yet turther, complyingwith
the human heart, it speaks directly to us.

It exercises great influence over the form
of Ikebana to be determined that what sort
of beauty the arranger has in mind. Such
a way of thinking has already been stated
that in the beginning an original element
first appears and then this diverges into the
the two, in and yoh. When these two, in
& yoh, are in exclusive balance, each having
an equal strength, the form cannot display a
motion implied interiorly. Contrary to this,
when this balance is just suspended, there
generation and development are expected,
and possibility contained in the “future”? is
given birth to,
We suggest that the “growing” figure
makes a distortion, and when this thought
combines with that of shunning the balance
of in & yoh, respecting the form of Ikebana,
importance is attached to the interior balance
different from the apparent balance.
The overflowing energy of yoh is a spring
of prosperity & development of hopeful fu-
ture, and so the selection of material plants is
tried just from this standpoint and the form
of Ikebana is determined at the same time.
Going deeper into this matter, we find
that, when feeling beauty in the overflowing
energy of yoh, every one differs in the stage
where he find out beauty, according to each
individual sense. ‘This difference has come
out historically in various forms of Ikebana,
resulting in developing several schools of this
art. Comparing rise and fall of in-yoh alle-
gorically with the pendulum-movement right
and left, we can understand that there exists
such a school which sees beauty in the state
of a pendulum that just begins to move from
right to left, another which takes up the
moment that the pendulum touches the ex-
treme left, and another, the moment that
the pendulum just begins to turn back right.
Analogically speaking again, Ikebana of the

if ayeo
 Ikenobo School takes the standpoint that one sees
beauty before and until the pendulum comes up to the
center line, not at the center line itself. Speaking
of the flowering plants, an artist arranges flowers from
such a standpoint that he discovers beauty in the
bud just going to shoot out, in the fresh branches
and leaves just going to stretch themselves, in the
flowers just going to bloom now. Even when he
arranges two flowers side by side, he attaches im-
portance, regarding representation, to the bud more
than to the bloomed one. When he add dry grass
to a green branch, more weight is given to the figure
of the green branch. The past exists in order to
denote the passage of time up to the present, and the
present exists as such that foresees the future.
But when we try to represent such spiritual con-
tents, it must be understood that this balance of in
and yoh cannot be weighed quantitatively. It is
therefore important to read in mind the interior force
respectively implied. It is most important to be
represented that, though a bud is smaller than a
bloomed flower, the former has the lively energy,
and the green branch, though less in quantity than
the dry grass, is not what is withering away, namely,
it is what expresses the strength of “will to shoot out”.
This state of things determines the direction, the
length, the order, and the strength each possesses,
of the three branches corresponding to “heaven”,
“earth”, and “man” respectively. Here, such tech-
niques become necessary either to bend or cut off
branches, or to thin out leaves, all of which means to
follow after the mysteries of Nature.
~ In another words, Ikebana of the Ikenobo esteems
the decile as to the form, the pure as to the color,
and tries to represent them in the posture of Ikebana,
just as they are.
Drawing up the genuine from under the depth of
earth, Ikebana of the Ikenobo exerts best to create
the pure and the novel, perhaps so as to suit Pro-
vidence of Gods.
Basic Structure of Ikebana

Following after the surroundings, plants are

not deprived of self-supporting force yet. They
strike root deep into the earth, and spread leaves
and branches toward light. There we find a life
which exert its utmost to live on, amidst severé
surroundings. There’s something that is seen
without being looked at, something that strikes
human heart without seeking to be looked at.

Ikebana is nothing but transferring “‘the The essential point in which Ikebana
will toward growth” owned by plants them- differs from the other formative arts consists
selves, on to a flower-vase. in that its materials are the living flowers
Accordingly, instead of admiring the very which themselves possess speeds and direc-
flowers themselves as beautiful in color or tions of growth, so that one should not de-
form, such a heart arranges flowers that termine the form solely by the apparent
enjoys them as beautiful when they exist harmony or stability.
there just combined with their stems and It is generally considered that stability is
leaves. A flower-arranger feels such a state important to aesthetic form, yet stability in
of flowers as beautiful that are striving to the case of Ikebana signifies a special form.
live through the natural surroundings; he Broadly speaking, a thing is stabilized when
tries to transfer such a state on to a flower- it keeps its balance by itself or supported by
vase. another, without falling or tumbling down;
But it is impossible to remove the living the horizontal line against gravity therefore
flowers just as they are from the natural is here supposed. Every plant growing on
world to a flower vase; a single branch re-
moved as it is to a flower-vase cannot neces-
sarily reproduce the natural beauty which it
possessed in the natural landscape. Flowers
on a cut-off branch, being separated from
the mother earth or the surroundings, are
deprived of its vigor; sometimes it goes so
far as a shabby branch stretches itself, wither-
ing away with the leaves turned upside down.
In order to keep the lively state of plants
appearing as they are, a force substituting
that of either the earth or the principal stem
must be added artificially, so as to reproduce
an atmosphere in which a few branches were
situated in the bush, just here on the flower-
vase.

eS9)
the earth, however, js possessed of such
Sey
a force to rise upward by itself that tries to
stabilize the surroundings inclusive of itself.
Viewing from the standpoint that Ikebana
tries to represent this growing force, instead
of regarding its materials as mere matter, it
becomes necessary to suppose that this force
is still active even after flowers are arranged
in a vase. When this supposition is realized
in the figure, plants become properly ar-
ranged—that is, made to live in Japanese
instead of being merely arranged.

For this purpose, a flower vase must not

be a mere vessel, but it sometimes symbolizes
the mother earth, sometimes takes the part of
the principal stem. Further it sometimes re-
presents a hollow of a precipice, sometimes a
surface of a pond. The material plants assume
postures to stretch themselves up, taking the
vase as the cardinal point, and to rise up higher
with a springy force. Here the branches of
plants display the surroundings on the earth
when parting with the vase, show changes cor-
responding to the surroundings in the atmos-
phere when extending themselves higher, and
finally express the inborn nature—the will—,
at the top of the arranged branches. ‘The
strength and weakness of the strain and
change suggests the surroundings, brings
about the atmosphere, and projects an ideal
image cherished by the artist. This is a
general and fundamental posture, each of
three branches having its own part, “the
branch of earth” (taz the body), “the branch
of heaven” (soe the complement), and “the
branch of man” (shin the substance) to-
gether making up the form of Ikebana. (Ex-
planations concerning “heaven”, “earth” and
“man” as well as ‘“‘the negative and the
positive” will be described once more in a
later ]paragraph.
g ))

When these branches, each having its size

great or small, force strong or weak, growth
swift or slow, direction hither or thither, are
unified into one by the upward growing will
toward light, and represent beautiful stability
and harmony, flowers thus arranged strike
the hearts of the spectators with the most
pressing force.

ce)
 Proportion of Ikebana
When one arranges flowers, he can deter-
mine the length and width of branches, the
size, the tone of color, or light and shade, of
material flowers only by knowing what a
strength the respective part has in the whole,
and in what form it is united to the whole.
It has been already stated that there are
found three principal parts in the ordinary
form of Ikebana. ‘They are, first, the branch
of “the earth”, having the nature of in (the
negative) and displaying the influence of the
earth; second, the branch of “the heaven’’,
having the nature of yoh (the positive) and
displaying in broader expression the influence
of the atmosphere; and third, the branch of
“the man” (jin) having the nature of yoh
too, displaying the very nature of the ma-
terials themselves, in other words, the beauty
selected by the arranger himself. Of these
three, the branch of the earth takes the active
form in the lower space, the branch of the
(10)
heaven in the upper space, and the branch of
the man, expressing the strength of intention,
still higher at the uppermost part.
The branch of the man, therefore, occupy-
ing the large space of act, is called shin (the
true and the central) as it constitutes the
central point of Ikebana, and the branch of
the heaven, acting in the space surrounding
the branch of the man, sometimes combining
with the latter, sometimes taking such a form
which supplements the strength of it, is called
soe (complement); and the branch of the
earth, displaying the inborn nature by spread-
ing itself in the lower space, is called tai
(body). Thus Ikebana of the Ikenobo School
has these three branches or parts, shin, soe
and tai. When we look back over the process
how the three parts have developed into the
present state, we can realize the proportion
of their strengths.
 Ikebana doesn’t exists independently
which is endlessly connected with another.
who creates, or one who looks at Ikebana.
one another and connected with the whole.
incomplete form that seeks to be completed.
towards the “ future ’’.
by itself, but it exists as a link of the whole universe, each part of
With respect to its form, it corresponds to the heart of the man
In like manner, each part, the individual, of Ikebana, is linked
Every respective section comes to appear as representing an
Here is revealed the “present” that develops, or the hope

It has already been related that, where
there is a phenomenon, there must be first
the elemental, which then develops into two,
in and yoh, then these two again develop
further until they lose the balance just then,
when “‘the future” is expected. It is because
a third force comes to act on it, that the
balance of im and yoh is broken, but when
the third force reaches to a certain degree,
then the two, 7m and yoh, come to unite into
one, regaining the role of “the elemental in
the next stage”. Such is the theory in which
they assert that “one 7s two, and two zs one’,
hence in becomes yoh when the point of time
corresponding to the former changes con-
siderably, and vice versa. That a third force
always taking action, the whole develops into
itself, can be interpreted in the abstract
formula that ‘one becomes two, and a new
two as a third force appearing thereto, the
whole returns to one, then ‘another
correpsonding to the former ‘new two’ ap-
pears to make ‘the five’ which constitutes a
new elemental at the next stage, producing
‘seven’, and further ‘nine’, and so forth”.
Such a relation of development is denoted
by the phrase “‘seven-five-three”, Shichi-go-
san. The three principal branches of Ike-
bana, and the miner parts also, are con-
structed in such a way that they form a
chain of forces. It is our principle to regard
shin as “the seven”, soe as “the five’, and
tai as “the three”. Yet there arise differences
as to the form, according to the point of time,
when the third force is caught in the process
of this development. The structure of Ike-
bana is always accompanied by _ invisible
forces, just as when one sees the crescent
moon which is partly concealed. It is im-
portant to make the structure of Ikebana
keep in itself an expectation that such a force
will appear just as when the waxing moon
will become the full moon; on the side of a
man who looks at Ikebana, it is also equally
important that he should assume an attitude
two’ that tries to fill up those phenomena incom-
plete or concealed in appearance. ‘This may
be said the characteristic feature of Japanese
traditional arts in general, namely, not of
Ikebana alone.

(11)
 AVA LS)

Rikka
As for the form of Ikebana, rikka was first established. In the first half of the 17th century,
assemblies for flower arrangement under supervision by Ikenobo Senko were often held at various
places, beginning with the Imperial court, at mansions of nobility, or at shrines and temples, etc.
Many pictures of rzkka arranged by Senko have remained to this day, which show us the torms
of Ikebana at that period.

(12)
 ee OND satin ctnmmmnenes b reed de
PMOL ALi Ml A OG y,

Vip iciMiifipiae

The photograph shows a rikka arranged, following after the manner of Senko, on the alcove
of Okozashtki (minor room where profound instruction of lanka poetry to the Emperors, and
the like, were performed in old days when Their Majesties resided in Kyoto) of Kyoto Gosho
(Imperial residence). This masterpiece, combined with a picture of a distant view of mountain
ranges at its back, gives us a wonderful scenic interest. “

(13)
 Nageirebana
(thrown-in form of old times)7)

While rikka form gradually ac-

quired fixed form after long pros-
perous period and finally descend-
ed to mannerism, there arose a
realistic tendency trying to ar-
range flowers and plants plainly
just as they act in nature, result-
ing in that, in the beginning of
the 18th century, nageirebana
came to be popularized. ‘Then,
along with the life energy of
plants coming to draw attention,
this nageirebana gradually devel-
oped into shoka form.
The photograph shows a work
arranged on the alcove of the
tea-room “chosetsu’—listening to
snow—, in Kyoto Gosho, follow-
ing after the manner of about the
middle of the 18th century, using
plums and camellias as flower ma-
terials, and a bamboo vessel with
two side-openings (nijugirt) as
the flower-vase.

(14)
 Nageirebana had used to be arranged bana), was to be selected, and further, in
originally before rikka form was established, accordance with either the place where the
and while 77zkka shows scenic and formative flowers were arranged, or the sort of annual
interest, complying with ceremonial require- observances concerned, or the purpose of the
ment, nageirebana on the contrary came into expected visitors, sometimes literary and
being from the original standpoint of Ike- sometimes designing devices were to be used,
bana that its object les in admiring the very and superior wit quite fitted to the respective
flowers themselves, and at the same time it case has been highly esteemed.
is what tries to realize spiritual intercourse The photograph shows a work with the
between the arrangers and the spectators. narrow-mouthed vase in which stems of pam-
Accordingly, nageirebana has been arranged pas-grass and corn lychnis are arranged, in
in various shapes—erected form, thrown-in which a sign of autumn stealing in from the
form, bent form, hung-down form—in ac- outside window is deepened by the wind-bent
cordance with the quality of material grass figure of the pampas-grass together with
and plants. Also, in accordance with the the lonely cinnabar color reflected by the
shape of the vessel used, respective form such corn lychnis flowers, and with the white
as okihana (laid Ikebana), kakehana (hung back of the paper-slide having lineal lattices,
Ikebana), and tsurthana (hung-down Ike- the whole displays highly designing beauty.

(15)

Among various nageirebana forms, special
attention has been cailed to the tsuribana
(hung down Ikebana). Boat-shaped vessels
and the like have been devised in this way
or that, representing for instance the boats
sailing in and out of harbors, that symbolize
the happy development of society, in order
to seek variations in device.
The photograph shows a work of basket-
shaped vase hung in the lineal architectural
(16)
Viejo
composition with the flowers arranged in it,
that draw up soft curves, making contrast
of brightness and darkness, or curves and
straight lines most impressive with the addi-
tion of chrysanthemum flowers attached to
the Eulalia-grass, and corresponding with
the design of Jibukuro (cupboard in the
lower part). All these, combining with one
another, emphasize the actual feeling toward
life itself.
Shoka
More interest in the beauty of the entire figure of a bundle of grass
or a tree, than that of mere parts like as flowers and leaves becoming
popular, nagetrebana came to a fixed form under the name of shoka
5 nning of the 19th centu Higs-el,02,and Join. p,./; figs. |
p. 8, fig. 1 in p. 9, for instance, represent pictures of Ikebana
of those days.
The photograph shows a form of kakehana (hung style) of shoka
form, Ikebana of side-hanging in this case, where spiraea branches and
rose of Sharon are arranged in a vase of bamboo pipe, the whole
representing in shoka form the natural shape of the material plants
just as they are, following after their own nature.
Nageire (thrown-in style of the modern age)
_ Along with prospering of the shoka form, the basic principle became more important than the
individual quality of material plants, its form gradually acquiring the similarized tendency, and
about in the beginning of the present century, Ikebana of the primitive period having naive vitality
came to attract general attention, and then came out nagetre-moribana style which corresponds
to the present living environment and to the floricultural development.
The photograph shows a Ikebana of gentian together with Eulalia-grass arranged in a narrow-
mouthed vase of celadon porcelain, put on a simplified alcove of a shelf board, in which the
arranger tried to simplify the structure, utilizing the vacant space, so as to create refreshing
atmosphere.

(18)
M oribana (heaped-up flowers)
Moribana style gained its name from the original fact that it was arranged in a basin as if
flowers were heaped up. In the early stage of nagetrebana there was already such a heaped up
form as an Ikebana put on a shelf, yet we can say that it was rarely done except for displaying
a work of special intention, because of the immature development of hanadome (flower fasteners) .
Since new sorts of hanadome—especially kenzan (needle point holder, literally meaning sword-
mountains)—were contrived, moribana has come to occupy important position inn_Tkebana.
The photograph shows an Ikebana of Japanese iris arranged ina = (—____
vase of special shape, with an intention of compacting the com-
plicated structure of the alcove, in order to represent the refreshing
early summer.
 Development of Formative Representation
Since the end of the second world war, along with the increase
of cultural intercourse between foreign countries and our land,
formative development has been introduced into Ikebana also.
While Ikebana of the former days has been representing the ar-
ranger’s feeling indirectly, by entrusting it to the nature of plants
and trees, that of the present Ikenobo has altered its tendency
toward direct expression of the arranger’s feeling, through his
formative work. It tries to express ever more directly the feeling
and intention of the arranger himself, by means either of stimuli
received from the figures, colors, and the qualities of material
objects, or of the internal repletion of sculptural composition, and
so forth.
The photograph shows an Ikebana of Indian lotus fruits
together with camellia flowers arranged in a pottery vase tightly
baked up, set in a successful balance between the interest as a
formative work and the characteristics as an Ikebana.

(20)
Style of Ikebana Nageire (thrown-in style of the modern times)

Historical development of Ikebana extending over four

centuries is nothing but the historical passage of Ikenobo itself.
The three forms, rikka, shoka, and nageire-moribana, are still
used prevailingly today, and further they are going to bring
forth the “formative” development.
Of all the forms of Ikebana, nageire is most easily managed,
by which we can fully appreciate the beauty of flowers’ and
leaves. Furthermore, as the large space where branches and
leaves are in action enables the work to project the nature
of plants more easily, this form is now most popularized. The
photograph shows one of the most representative nageire
form, which displays brilliant beauty revealed in the naive
simplicity. Combination of green pine branches, the vase of
blue glaze, and two flowers of pink rose with deep green leaves
at their back, displays brilliance itself of the most vivid life.
(ef, note-in p. 26.)

(21)
 Gia ae

Moribana
The photograph shows one of the most representative moribana form. Here hydrangeas to-
gether with leaves of Iris japonica are arranged in a ponderous pottery basin of compote-shape.
[Efforts were made to represent the color-transition from pink to purple, and the vigorous fresh-
‘ness, of hydrangeas. Between two factors, the hanging inclination of the hydrangeas and the
indicative force trying to pull it back, possessed by the pointed leaf-edges of the japanese iris,
there is revealed a moderate tension in the balance of these two forces, which makes this vivid
freshness of hydrangeas most impressive. Also the equalized mass of hydrangea flowers shows
the most beautiful balance held by the three main parts, shin, soe and
tai, being accompanied by the leaves of japanese iris in the unbalanced
appearance against it.

(22)
Shoka
Shoka is such an Ikebana in
which one tries to find out the basic
original of the life’s energy and to
represent the pure and earnest
will in a simple figure. While
showing the strain of will, born
of the earth, at the water’s edge
where the stem of Ikebana sepa-
rates from the flower-vessel, it
stretches up, drawing a mild arc
lines, and shows a delicate res-
ponse to the surroundings, so as
to represent its own will amidst
the keen correspondence of the
three main branches, shin, soe,
and tai with one another.
The photograph shows an
example of the most exact and
rigid form of shoka, in which two
sorts of chrysanthemum flowers,
large-flowered and small-flowered
are arranged in a copper vessel,
representing the most beautiful
nature of chrysanthemums.
Nageire

As for the shape of nageire, it adopts the standing style, the slanting style, the waving style,
and the hanging-down style etc. In the case of Ikenobo’s nageire, the standing style is called
chokutai (the erect state). This is quite suitable for expressing naive atmosphere or the sublime
mood. The photograph shows a work of peach tree and daffodils arranged in a pottery vessel
with comb-shaped deep notches, in which the arranger tried to make materials also express
soft curved lines as if they wrapped up the space, just receiving ample influence of the outline

'
curves of this vessel. This is such a nageire that suggests to one’s mind the warm sunbeams
of a bright spring field.

(25)
 Method of Arranging Nageire

The order of treatment is

as follows:
1. To select the materials:
to determine the direction
of the vessel; to cleanse the
leaves from filth;
2. To determine the direc-
tion, the slant, and _ the
length, of the pine branch,
affixing it to the vessel; to
fix it to the vessel, by bind-
ing a prop to the root;
3. To arrange rose flowers,
adjusting the direction of
flowers and cutting off the
unsuitable leaves.

(26)
 When you arrange Ikebana, first you take up the
material plants in hand, then you should cut off all
the dirty, withered, or dead parts, observe carefully
each branch one by one, from various points
of view, determine in your mind the meaning to be
represented by the work, and decide the outline of
composition and the vessel to be used, investigating
the posture of material plants.

When these preparations are finished, the branch

fitted for the main part should be kept in good
repair, by scissoring off surplus twigs or such parts
that seem to hinder the interesting shape of other
branches, sparing no attachment to the materials.
Then you decide such a forcible branch to be the
shin, that is fitted to constitute the principal axis
of the work, and such one having a force second
to the shin and fitted to respond to it, to be the
soe, and such one, though rather short in length,
possessing a certain force capable of bracing the
entire figure, to be the tai.

Then, following after the composition thus de-

cided, you insert the first branch, complying with
the shape of the vessel, into the vase. In order to
fix it tightly to the vase, shapes with less compul-
sion are preferred, but in case where fixing is dif-
ficult by reason of the present composition, you can
perform it either by setting a prop at the vase-
mouth, or by bending the root of materials, or by
binding a supporting piece of wood to them. Next
you insert the second branch in accordance with
the inclination of the first one, By inserting the
second branch, intention of the composed work be-
comes clearer, but in case where there lies certain
compulsion in the composed figure, you should in-
sert the third branch, adding suitable amendments.
Fixing method is just as in the first branch. If the
first branch is inserted toward right, the second is
to be toward left; if the former is faced forward,
then the latter backward. While in this way you
go on inserting one branch after another alternate-
ly, according to the order of hardness or easiness
of insertion technics, it is preferrable that the work
as a whole keeps such a posture that inclines to
come forward as if it calls to those who see it.

The photograph shows a sample of composition

in which the arranger has attempted to vivify the
balanced beauty of pink rose with green leaves at
their back, and notwithstanding the usual manner
that pine branches are to be inserted aslant, the
present one is stretched out sideways corresponding
with sidelong extension of the vessel. Although
this intention can not be said to match effectively
with the born nature of pine trees, such exceptional
treatment has been made because of the principal
intention lying in expressing the beauty of rose,
and this very procedure proved to be successful in
reproducing vivid appearance of the rose.

(27)
 The photograph shows a work in which
Cypripedium orchid have been arranged in a
pottery vessel without special technics, that is,
by merely inserting flowers into the vase and
let thern keep their natural slanting. Such
a slanting form is called shata: (the slant
state), which can be most easily arranged,
being most suitable for representing naive
and intimate feeling.
Fitted to the natural posture of cypripe-
dium to bloom facing downward, the flowers
of this work let the noble beauty in the
naive shape overflow into the surroundings.
How the leaves are disposed in position is
equally important as how the flowers are
slanted. It was so arranged that, by holding
such a posture that makes us feel as if the
long leaves, appropriated to the soe, embrac-
ing the flowers, flowed out according to their
natural tendency, the expression of the
flowers becomes vivid; and the short leaves
appropriated to the tai, by facing rather up-
ward, affixing to the flower-stalk so as to fill
up the weakness ot the latter, suggest to our
mind the vital impetus of living flowers.
In order to increase the effect of this
Ikebana, the structure of the window was
taken into account, and the lines of the
arranged cypripedium is projected in strong
relief by the counterlight, while lines of the
window that are active in perpendicular
direction fill up the apparent weakness of
the flower-vessel, adding the phase of stabili-
zation to the large-headed flower shape.

The arranger tried to avoid the defect that

the flower shape might become flattened, by
rendering the respective direction of the
flowers and two leaves different from the
direction the edge-points of them point to,
so that the flower shape, occupying large
space, makes us feel long depth of the work.:
But it is important that the work as a whole,
slanting forward, should assume such a
posture that it appears to call to those who
see the work.
 The photograph shows a work of a single
rose flower together with Broomcorn arranged
in a pot of sake-bottle shape. Inserting two
or three kinds of materials together is in-
tended for making the background of the
represented object clearly impressive to the
spectators. By inserting Broomcorn addition-
ally to the rose, the autumnal season becomes
tangible to us. Though the core of the
present representation lies in the beautifulness
of the rose, spectators can also feel beautiful-
ness of autumn by the annexed Broomcorn,
according to their own respective experiences.
When two or more materials are assorted
together, it is necessary that, in spite of the
characteristic point common to them, there
should be marked differences among other
factors. In case the season and the environ-
ment of the growing land are equal, the more
the shape, color, or quality varies, the more
contrasting beautifulness can be seen, enabl-
ing the principal object to look enhanced.
In like manner when the shape is similar
to one another, those whose colors and
qualities are different, and when the color
is similar, those whose shapes and qualities
are different, should be assorted together.
As is shown in the photograph, it is because
we have common sensibility that the autum-
nal mood comes to be deepened by annex-
ation of Broomcorns, and the impressive
beauty of the rose is doubly emphasized by
those differences of their characters.
(29)
 That the cut flowers look like living in a appearance of the vessel and the impetus of
flower-vessel is because once _ separated the parts which have branches and leaves
branches cut from plants restore again the that tend to stretch themselves toward the
same order as it possessed while living in back of the Ikebana.
nature, realizing it in a new environment—
a flower-vessel—decorated in a room; and
it is most important, speaking from the
arranger’s stand-point,-that he should build
up anew the same order in a new environ-
ment, as the plants possessed in the natural
world. For this purpose attention must be
given to the place where spectators stand and
to the direction of light given to the’ work.
When we see flowers grown in nature, we
look at their most beautiful sides that are
generally those parts of the flowering plants
which receive the most abundant light pour-
ing out usually either from just the. upper
side of the spectator’s back, or from some-
what right or left upper side.
Flowering plants stretch their branches,
spread their leaves, and bloom their blossoms,
toward this light. Also the stems and roots
keep resisting against it so as to maintain
this inclination. Taking these relations into
Ikebana, the arranger tries to set the unifying
point on the rightward or leftward upper
back-side of the spectators, and endeavors to
keep a beautiful balance between the weighty
(30)
i
Le
e
t
x
€
g

Each of the two works here reproduced is

an Ikebana in which the stretching tendency
toward light is impressively felt. For this
purpose unifying point has been imaginarily
set rather in the lower position than in usual
cases, the slanting degree of the flower shape
being determined markedly greater.
The Ikebana on the left page is so ar-
ranged that the chrysanthemums arid the
Eulalia-grass have been given such a frank
disposition* pointing to something, and while
the chrysanthemum flowers have been made
to look like predominant because of separa-
tion from the white-glazed bottle by adding
gerbera leaves at their back, stabilization of
flower shape has also been attempted.
The Ikebana on the right is a work of
nandina and Narcissi, which represents, while
showing in itself gentle curves in anti-
podal contrast to the former, strong tendency
pointing to something by repeating the curves
ef three leaves following after the Narcissi
blades that run lengthily rightward.
Here we find mild movement as well as
broad space. The difference between these
two works depends on the seasonal distinc-
tion of spring and autumn, and also on the
consideration for the environment of the * Here the present translator wants to introduce
room decorated with such a work. a new technical term directionality.
(31)
 The photograph shows a work of Hydran-
geas assorted with Common reed, and ar-
ranged in the green-glazed bottle which is
decorated on the shelf above the floor board of
the side spot of an alcove. Those Ikebana that
shall be decorated on a higher spot are to be
finished up as a wind-bent or a hung-down
shape. Though it is usual in these cases to
use materials that are of bending or hanging
shape in natural posture, but in the present
work the arranger has altered the visual
quality of the materials by splitting the blades
lengthwise along with their veins so as to
satisfy his formative requirement. So to
speak, a sort of fiction has been performed,
and indeed, looking at this work, we are
compelled to imagine that such a state of
things can really exist. Besides, when we
look at these reddish purple flowers of
hydrangea, through the splits of the blades,
the beauty of Hydrangeas as the principal
object becomes still more impressive. This
kind of style which is formed in the position
lower than the insertion opening of a flower-
vessel is called suitai (the hung-down state).

(32)
 The Ikebana with which a room is decorated has
various styles according to the construction of the
house. The photograph shows a work of Hototogisu
(a kind of wild herbs, Tricyrtis hirta Hook, var.
parviflora Masamune) and gladiolus leaves arranged
together in a bamboo-pipe vessel with a single side-
opening (ichijigiri) hung on a pillar, finished in a
hanging style (kakebana) by way of nageire form. The
beautiful view seen outside of the window somewhat
plays the part of the background in this case, but
generally speaking, the Japanese Ikebana is not what
stands in opposition to “Nature”, but is arranged as
a work which is always successive to natural scenes,
or as what is conscious of being a part of nature in
itself, even when it is interrupted by a wall or a
paper-slide. The lonesome beautifulness of Hototo-
gisu suitable to the bamboo vessel makes us feel a
sign of certain autumnal mood, and yet as a matter
of fact, just at the point where this loneliness, the
subject itself, being supported by a single level line of
the sharp cut side-opening of the bamboo vessel, and
by the toughness of the gladiolus leaves, shows at the
top end of their stems an impetus of living things,
there this work is filled with a deep impression yearn-
ing for human life.
 The photograph shows a nageire decorated
at the corner of the entrance in a dwelling.
Here small branches of azaleas together with
acorus are arranged in an ichijiigiri of
bamboo vessel, set on the Okidoko (a sim-
plified alcove installed only with a flat
wooden stand laid on the mat). Besides
that an Ikebana arranged for decorating the
entrance is what gives the first impression
to a visitor, the place where he appreciates
the work changes hither and thither, so that
it is necessary that, though the figure seen
from the direct front entrance forms the
principal point, the figure seen from the back
also should be finished up as of well-ordered
shape. Therefore it has been the traditional
attitude of the Japanese, to arfange flowers
in a chaste, modest, and brief manner.
Though the flower shape can be well ad-
justed by using azalea only—one of these two
materials—, the arranger, taking into con-
sideration the characteristics of the Ikebana
placed in the entrance, tried to give extension
and depth to the flower form by adding
leaves of morrow sedge.
The photograph shows the figure seen from
the back, but when it is viewed from the
direct front of the entry, flowers on the
branch-top lengthily stretched lean their
heads toward appreciating spectators.
 RRA enmieniineae imeem

Moribana The slanting figure of the leaf of Fatsia

and the curved lines of the leaves of Japanese iris
japonica

bending toward the former as if the latter followed

after them look so exceedingly released, that one
Moribana which holds the principal position in who looks at the work will perceive wide and calm
Ikebana of modern age does not differ substantial- space encircled by them. The strong impressive-
ly from nageire, only showing a certain difference ness of the snow-white flower of calla lily facing
in the techniques of fixing flower branches accord- leftward gives elasticity to the materials facing
ing to the respective shape of vessels. Further- rightward, by which the arranger has aimed at a
more, as wide-mouthed vessels are employed in special balance fit to Ikebana.
moribana, a large space can be embraced by the
figure of a work, and in the course of time, it has
come to part with the original piling-up shape,
differentiating into standing shape, slanting shape,
bending shape, and hanging shape, so as to enable
the arranger to represent all sorts of signifying con-
tents, according to both the born nature of plants
and intention of the arranger, while Ikebana of
formative composition newly appeared has de-
veloped into a fashionable one, being based also
upon those techniques of moribana.
The photograph shows a work of calla lily, a leaf
of Fatsia japonica, and leaves of Japanese iris ar-
ranged together in a square-shaped glass dish.
 Method of Arranging
Moribana

The piling-up form, if arranged just as it is literally

meant, will become such an assortment of materials
piled up in a dish, that used to be seen in case of a
still life, because flowers in this case are either laid side-
long, or only Hower-heads are piled up, the short Hlower-
stalks or stems being invisibly kept out of sight. But
plants are, for the most part, possessed of stems and
they grow, stretching up from the earth. So long as Ike-
bana, therefore, is intended to represent the function of
plants that always endeavor to accomplish their growth,
such a method is apt to result in neglecting the nature
of the materials. Accordingly, while moribana depicts
the nature of plants by dealing with Hower-stalks pro-
portionally longer on one hand, it shows also interest in
the combination of colors and qualities or the like on
the other. The methods of its representation and com-
position are almost the same as those of nageire, and
a kenzan is used today for fixing Hower-stalks.
The photograph shows a Himuro, small flowers of
chrysanthemum, together with the leaves of Iris japo-
nica, arranged in a pottery vessel with a brim having
open works. First of all, materials are assorted, and the
same preparatory operations as in the case of nageire
are to be completed.
Then the arranger submerges a kenzan into the bot-
tom of the, vessel, and, cutting the lower end of Himuro
down to the proper length, he inserts the bent end
between needles of kenzan in order to let it lean on the
vessel. Next he inserts two or three small chrysan-
themum flowers on the kenzan, making them slant deep-
ly forward, in order to be moderately connected with
the vessel, there remaining between the Himuro and the
vessel an. interval that is not touching yet not parting
with: each other. A few more chrysanthemum flowers
are inserted behind, slanted forward, and arranged so
as to make a group of the small Howers add bright
coloring to the Himuro. At that time unavailable
surplus branches and flowers should be scissored off for
the sake of beautiful disposition, so as to keep these
two material groups in a proper balance of volume.
Yet these two materials alone are not enough to occupy
ample space suitable for living figures, so that the
arranger should add blades of Iris japonica that over-
spread with large curves above the Himuro, in order to
partition an adequate portion out of the space. By this
handling the Himuro as well as small chrysanthemum
becomes capable to represent lively expression, by dint
of background newly given for growing up, that is to
say, these three—Iris japonica, Himuro, and small chrys-
anthemum—as a whole have built up a microcosmos,
and each part is bestowed respective force and function
corresponding to the shin, the soe, and the tai.

(36)
 How to Use Kenzan BE

When inserting a branch in a kenzan, do it 3

most slowly, taking in hand the lowest part of the ” 4
branch. \ lib
Try that without an intention of thrusting it a 2
into the needles, but with that of inserting it be- Bas
tween them.
The lower end of a branch should necessarily
be cut off obliquely, and small splits are to be ft
made with scissors. Se
1 j 4
hs tee Lecteee nee th
When inserting obliquely, determine the fac- sae
ing and direction of the branch by setting it for
trial to a kenzan, and cut off an end obliquely,
retaining the side to be slanted which is given cut
splits, and after it is inserted first perpendicularly, w

slant it gradually.
W
Wi
S

N
 The photograph shows a work which ought precisely fit vessel, into which gathered wil
to be classified rather into the nageire .form, plants are thrown in arrangement. Suggest
but the author has reproduced it here as a ing us intimacy between the vessel and th
moribana, for the reason that its atmosphere, plants as regards quality, the arranged mate
in which autumnal flower plants are piled up rials, each showing difference in length «
in a basket. shows a quality as a moribana, direction with one another, display harme
and that the flower branches have been fixed nized beautifulness by the unified wll towar
with a kenzan, a bamboo pipe being placed light thrown from the upper left-side.
in the basket in order to preserve water and
the inserted flowers.
In this work, Eulalia-glass, patrinia, chinese
bell-flower and small-flowered chrysanthem-
ums are arranged together, each cf which
differing in shape and color with one another,
yet representing a beautiful sight of autumnal
wild plants, by bringing -the others to life in
mutual co-operation. This is because various
materials suggest us intimacy among theim-
selves, resulting from the equality in season
and environment of habitat. Furthermore,
technically speaking, in point of easy com-
position, this bamboo basket with handles is a

(38)
 The photograph shows a work of sallow branches and
daffodils, representing a throbbing joy of early spring,
and through this very form we can realize the quality
of the space composed by Ikebana.
The sallow branches move in all directions, the curve
of each branch partitioning the space in many ways,
but those parts of space formed by these lines are not
solid ones as are formed by architectural construction,
but are those connected with the environment, and are
given such a latent impetus that, once a certain pressure
is given to them on one spot, the whole is expected to
change organically and provoke itself to successive move-
ment.
In the world of Ikebana, we criticize the respective
materials and space of works as lively or lifeless, accord-
ing to whether they participate in such an organic chain-
combination or not. A work of Ikebana should be such
one, the parts of which one and all participate in lively
combination.

(39)
 When we look at this work of moribana
just after appreciating the former one, we
can realize the cubic construction produced
in Ikebana. This photograph tells us of
the interior fullness of autumn, but it also is
not the sculptural fulfilment, but has such
softness like that of living things, and assumes
a posture that will display the interior fullness
in the movement toward the external world.
The vivid color contrast shown in_ the
material combination of Monstera, dahlias,
roses, and unicorn plants, arranged together
in a cobalt blue basin, is accompanied by
refreshing feelings. Though an Ikebana is
(40)
regarded as an artistic work that represents
the movement of living things, attention
should be called to that it is anyhow what
represents itself in the vegetable quietness,
and is what suggests to our mind the recep-
tive earth, Mother of All.
An Ikebana is usually a work with one side
frontage, but sometimes, as in the present
case, it is composed as one having two front-
ages in both sides. On such an occasion the
arranger should be careful to dispose well
of the background, lest the work should lose
the vital feelings.
 The photograph shows a moribana of a Cape jasmine
and leaves of Iris japonica arranged in a square legged-
basin of green glaze. It has been arranged in a simple
shape so as to be fit to an abridged alcove in one corner
of a small room. The whiteness of the Cape jasmine
in contrast with the green color in succession from the
vessel to the leaves looks most impressive.
A naive Japanese room encircled by rough walls (cob-
coating or clay-wall with an unpolished surface) will
become tightly braced by the usual ornaments, namely
a picture or a writing and an Ikebana, decorated in the
alcove. For this purpose, Ikebana in this case also
should necessarily have a sort of strength inspite of its
brevity. The space occupied by the side walls and the
shelf becomes living space by putting an Ikebana in it.

(41),
 Formative Development of Ikebana
Ikebana has, in point of structure, developed into such an artistic work that produces a micro-
cosmos by the union of the Heaven, the Earth, and the Man, in another phrase, the shin, the soe,
and the tai, and also into such a work that the arranger tries to fill up with his impressive feel-
ings for human life, through the living efforts of plants. There are revealed various character-
istics of the material plants, accompanied by their respective limitations.
Yet this fact comprises in itself the defect of making arrangers impossible to have the equal
aesthetic experiences on account of the difference in natural environments surrounding themselves.
Again, the actual state of life having manifold variety, the. arranger becomes more inclined to
find out a direct way of expression in order to represent his own complexed feelings, instead of
trying to give indirect expression by depending on the posture of material plants.
Ikebana has thus begun to make formative development, more pictorial and sculptural in its
character than ever.
The photograph shows a work of calla lily and bulrush inserted in a cobalt blue compote, in
which the arranger has tried to display formative beautifulness, fully realizing characteristics of
Ikebana.
Apart from the sight of growing things, by bending the bulrush, regarding it as vegetable
material, in order to use it as an interesting background, and also regarding the conversation of
the two calla lily flowers as the foreground, the arranger has endeavored to give a dramatic ef-
fect to the representation of tasteful encountering.

(42)
 The photograph shows a work of Broomcorn, Italian millet (Setaria italica), and dahlias inserted
together in a white-glazed pottery showing the raw, earthen surface, in which the arranger has
tried to display the interest and beautifulness shown by the differences of respective materials
including the vessel, inspite of the autumnal mood which comes out of the materials, without
positively intending to create such an atmosphere that suggests an autumnal scene to us.
Here he tried to show beautiful contrast by setting brownish orange area of kibi and awa
stretching perpendicularly and the soft white area of the vessel spreading horizontally, against
the dark red of dahlia situated at the center a little rightward, and also attempted to give sta-
bility to the work by setting a force flowing leftward, against intentionally concentrated strength
of the group of dahlia.
Rough feeling commonly felt in the three materials, the vessel, kibi and awa, feeling of soft
fineness in dahlia, and feeling received from the closely combined materials inspite of the differ-
ence in shape and color, all these united in one body represent the beautifulness just as may be
seen on the pastel paintings.

(43)
 The photograph shows a work of Cape jasmine and copse branchlets dyed coral, arranged in
a vessel of light green glaze, representing unusually bewitching beauty. There are seen coral
colored branchlets spreading as if theyembraced space within themselves, and white flowers of
Cape jasmine encircled by mild green are glowing fragrantly there, where this spreading move-
ment is settled up. There we find tranquility and_ stillness prepared for trusting ourselves
thereto.
The scenes represented by Ikebana should be such one in which, even when strong motion
is prevailing there, just in the figure of calmly growing plants, a sign of the same can be found.
The arranger has tried to produce this as a formative work of his psychological experience, in
the process of which, showing the original feature in the figure of Cape jasmine, he set against
it the branchlets transmuted by tranquil dyeing as direct materials to express his feelings, so as
to get a contrasting effect between movement and tranquility. :

(44)
 \
‘
ANY
AA

The photograph shows a work of artificial hydrangeas and skinned summer-cypress arranged
in a brown-glazed vessel with projecting protuberances, to which the arranger has attemped to
give formative interest in shape and color. As for the natural property of materials, those which
originally have not such a property to hang down, when they are given certain shape different
from their own, will display visual resistance. ‘This technique is what has been devised from
the shape of the vessel with protuberances, and here interest in subjective construction is repre-
sented in the entire figure consisting of three elements, namely, lines flowing from the upper
area to the lower, the protuberances that, showing stairs, stand abreast, and the color of artificial
hydrangeas gradating from purple to pink as if it patched their intervals.

(45)
 The 3rd of March (3/3) is the Girls’ Festival,
Ikebana of the when a gorgeous set of courtly dolls such as the Prince
and his Princess accompanied by civil and military
Annual and officers and lady-attendants, together with miniature
furnishings and utensils, is decorated from door to
Special Observances door, and peach-blossoms are arranged, in celebration
of this festival.

The Ikebana which originated in a offer-

ing to Gods, and as an object that calls for
blessing upon human beings, is still today
arranged on every occasion either of happy
events or of sorrowful affairs. Preserving
artistic odor, still Ikebana ought to be what
belongs to the general public. One feels
pleasure in the act of arranging, which melts
into the arranger himself and also pleases
those who look at the work.
In observing a birthday of one’s beloved
child, in case of marriage, in a usual home
life or in a memorial service of one’s intimate
friend, flowers used to be arranged heart
and soul. Furthermore, in case of numerous
annual observances which variegate the four
seasons, Japanese people used to enjoy them-
selves by arranging flowers suitable to each
occasion, and there daily lives attended with
flowers are spread out, where everyone’s ex-
pectation toward tomorrow is being inces-
santly gathered up.

The New Year’s flower arrangement: moribana

of long-leaf pine-branches & rose flowers arranged with
wishes for eternal youth and long life. It is traditional
attitude of the Japanese, to mend his way on the new
year’s day. An auspicious painting or writing 1s to be
decorated, and pine, bamboo, Japanese apricot branches
and the like are usually arranged in the alcove, each
flant carrying with itself certain longing of human life
corresponding to the respective nature.
 SMILE
ASTLA

Flowers arranged for the Doll’s Festival: peach blos-

soms, willow branches, and Camellia flowers are arranged
in kakehana style.

Flowers arranged for the moon light party: the

full moon viewed in the mid-autumn 1s said the most beau-
tiful sight of the moon expected in Japan. On that
day flowers of Eulalia-grass being arranged in a pose
of meeting the moon, all the family waits for the moon
coming up.

The fifth of May (5/5) is the Boys’ Festival, when

dolls Ea sages and warriors are decorated and
flowers of Japanese iris are arranged in its celebration,
in which longing for healthy growth and many
righteousness 1s expressed.
 The photograph shows one of the typical works of congratulating happy events such as
completion of new building, removal of residence, and marriage etc.
A picture of the noted mountain, Fujiyama, which symbolizes Japan is hanged in the alcove,
and a kakehana of a pine branch and camellias is decorated on its pilar. Combination of the
two factors, namely, the visual element showing Mt. Fuji standing high beyond and far above
the pinery on the one hand, and both the “auditory harmony and contents which represent
fuji sounding “the immortal and the invariable” (evergreen needles or leaves) and meaning
longevity on the other, has become one of the traditional techniques.
In this manner, pictures or writings and Ikebana are so selected that they have some connec-
tion with each other in point of meaning, and it has become a common way to avoid duplicated
figures like as a picture of flowers and an Ikebana of flowers.
Moreover, the form of Ikebana is to be adopted according to the severity and lenity,
or to the degree of importance.
Accordingly, in the case of serious and solemn
observances, right and rigid forms are selected.
The photograph shows a work of a simple
observance in the case of receiving intimate
friends, the alcove being also of abridged form.
In the case of formal alcove, even when a kake-
hana is arranged, side-hanged form is deter-
‘mined to be the normal one.

(48)
 The Way to the Shoka Form

Ikebana has repeated various trials in its formative composition, the historical path of
historical path. Beginning with pursuance of ever evolving Ikebana is still continued on.
external beauty in flowers, entering its interior The photograph shows a work of moribana
in the course of time, passing from a brief in which slender bamboo branch and red
form to a complex one, pursuers of Ikebana camellias are arranged in a tripodal pottery
realized that the fundamental elements had of big-lined simple shape, and the arranger
been born from the single principle, reaching has filled up in its simple composition such
the truth in a fiction, and discovering the contents akin to that of shoka. The path
invariable in the fashionable. But they did to the shoka form consists in adding a deli-
not attained it at a stroke, but have grown cate balance of force to this construction.
to possess the pure, rejecting formal vanity,
after repeating apparently similar passages,
from the simple to the complex. From
tatebana (original standing form) to rikka
(formalized standing form), and from nage-
irebana (older throw-in form) to shoka (sim-
plified form of rikka), and today from nage-
tre-moribana (thrown-in, piled-up form) to
(49)
 Living records of plants are multifarious
which tell us how they have shot up from
the maternal earth, spread their leaves, and
born fruit until they end their lives. Some-
times composed, sometimes charming, and
sometimes refined beautifulness is developed
out responding to the respective circum-
stances. A flower arranger always racks his
brains to find-out just the point of time when
he should grasp the beautifulness of plants
ever growing.
On the skin of the earthen vessel tightly
(50)
baked up in the kiln, showing a color print
of fire on its surface, and in the brilliant
green glaze as well as by the soft curves
of staff vine whose seeds and stems still
remaining green, the youthful and_heart-
rending mood of naivety is amply floating,
where a single flower of tree peony is splen-
didly shining iin contrast to the bright green.
The youthful and naive beautifulness
represented in this nigeire is directly con-
nected with the sense of beauty esteemed in
the case of Ikenobo’s shoka.
 Both flowers and men that equally breathe
in the atmosphere having the same feeling
with each other, the Japanese Ikebana comes
into existence.
The remaining signs of the .strain in
material plants withering away, and the ap-
proaching signs of distraction in the same,
are not what suggest a gloomy mood to us,
but what comprise expectation toward some-
thing that is coming into the world. A splendently blooming, a vivid impression
plant, just as a man, being embraced in
divine blessing pervaded in the whole uni-
verse, accomplishes its growth and thus is
pledged to be revived. Catching this flash-
ing moment, the arranger creates a work of
Ikebana.
Two tassels of summer cypress stretching
upward are beginning to show indistinctly
some trend toward disturbing their co-opera-
tion in life. The gap between the two and
their arched top-edges are suggestive of these
states, but by adding scarlet Hibiscus re-
pointing to revival. is indicated. This is a
moribana that tends to approach shoka form.
(51)
 The photograph shows a moribana of a
large chrysanthemum flower of spider form,
together with leaves of Iris japonica, arranged
in a wide-mouthed vessel of compote type.
Its main object of appreciation is the chrys-
anthemum flower, but this addition of the
leaves of Iris japonica has made the chrys-
anthemum look the more beautiful. More
than the contrasting beauty between soft
orange and green, equilibrium cf a certain
hidden strength causes the expression of
chrysanthemum look the more vivid. The
techniques that were devised in those days
when the nageire form had been brought into
existence lay in making each of the two
principal branches play the part of in (the
negative) or yoh (the positive), and_ this
form gradually developed into a new one,
the shoka form, the third branch coming
forth in addition.

(52)
 Shoka

When we regard the rik-

ka form as _ representing
elegant taste of nature, and
ordinary nageire-moribana
form as representing beau-
ty of the plants shown in
their parts, we can define
the shoka form as repre-
senting the mood of a
cluster of grass, or a plant
as a whole. Of course,
what Ikebana represents is
not the apparent beautiful-
ness of plants, but their
figures that deal with the
environment. Accordingly
it must be managed in
such a way that we can
perceive the environment
of the plants just as is real,
when they are arranged as
a work of shoka, therefore
we try to treat material
plants in accordance with
their supposed environ-
ment.

The photograph shows a work of Himuro arranged together i

small-flowered chrysanthemum in a copper vessel. It per nee :
figure of Himuro tormented by wind and snow, which still ee oes
to grow up, enduring these difficulties. In order to leant is ee
in a single branch, the state of the branch of soe (assistant) Ea ing
out from the principal stem, and the position of the ee mus at
necessarily such postures just suitable to represent e an ou i
the aid of supplementary small flowers of chrysant emum set in the
youthful and vigorous shape, the work produces the deepest impression
on spectators.

(53)
 When you arrange water-plants in a basin, Bird’s eye view of composition
it is important that the work symbolizes a
spacious surface of water at its background,
and the water-plants growing in groups. Group of male plants

I
For this purpose, water should be amply (shin, soe)
filled in the basin, and the water-plants are
to be handled so as to represent their beauty
extracted from the plant groups. Especially,
when the plants are arranged in two groups of female plants (tai)

ce |
as this photograph shows, there should be
represented such a state that the two will fuse
into one, filling up each other, and this form
is called gyodo-ike—“arranging along the
course for fish”, where the work should be in
such a composition that there exists an inter-
val between the two groups not too long but
not too short, and also that it displays a mood Female plants Male plants
as if a fish swam about in a curved line course. (Insertion order, from left to right) ditto)

(54)
 The photograph shows a work of tsuribana
(hanging down) style, its copper vessel sym-
bolizing the moon, and here a_ beautiful
sight of the moonlight seen through the
branches has been introduced into an Ike-
bana.
This shoka is a work created by combining
a branches of hydrangeas, which is past the
flower season and is going to show their leaves
tinged with yellow, and Chinese bell-flower
fresh purple in color, that are blooming as if
to show a sign of autumn. The room is not
ornamented by any picture or writing, and
at the front of the alcove this Ikebana is
hanged down so as to fill up the room with
fresh autumnal sentiment. A tsuribana ar-
ranged in a moon-shaped, as well as a boat-
shaped, vessel shows one of the shoka form
excellent in device and wit.
A Bird’s
 The photograph shows a work of Bitter arranger aims at the balance of shin, soe, and
sweet and small-flowered chrysanthemum ar- tai come out of itself, but he should set a
ranged in a tchijiigiri-hanazutsu. (bamboo higher value on material nature than on the
vessel with one opening), and this is called form of the work. He should keep in sight
“muk6-gake’—“‘hanged facing to the front’, a mood in which the top-end of the branch
one of the kakehana style. We call this, in tends to stretch upward, inspite of its shape,
which the vessel is hanged facing to the spec- which, according to the born nature, tends
tators, muk6d-gake, and that in which the ves- to hang down or to be bent by wind.
sel is hanged facing sideways yokogake
(hanged sideways). Kakehana style is what
has a long-established tradition since the days
of old nageircbana form, and is fit to compose
those plants having wind-bent nature or those
having the nature to hang down, into a proper
shape, by following after their natural state.
The disposition of the principal branch is to
be determined according mainly to the nature
of plants and their natural environment. The
 A large-flowered chrysanthemums displays
serene emotion, being filled with naive and
pure beautifulness. In order to make use of
this nature when such plants are arranged,
those that have stretched themselves freely
are preferred to those that have crooked
stems, so as to create an Ikebana of gentle
appearance. ‘The arranger should also treat
material leaves and flower equally with much
care in arranging them into a shape of
serene emotion, which displays noble beauti-
fulness by representing proper and_ rigid
tightness of the figure. The photograph
shows a shoka of three chrysanthemums each
having a large flower, arranged together with
white edged Eulalia grass. By adding these
pampas-grass, the stretching nature of the
former has become the more effective, result-
ing in the increased sentiment here repre-
sented, which suggests to our mind its corre-
lation to the environment where crysanthe-
mums grow.
As in this case, when leaves are added to
the principal materials merely in order to
supplement the figure of the latter and to
increase the sentiment of a work, without
maintaining independent figures in them-
selves, they are called karizha—borrowed
leaves—one of the arranging techniques of
shoka.
(57)
 Preparation for
Shoka

shall reach the prop.

A good combination” of
the flower vessel and mate-
rials is selected and a ma-
tagikubart (wooden prop
of Y-shape) is fixed into
the vessel, which should
be filled with water that

Method of
Arranging Shoka

First insert the branch nearest

to hand in the crotch of the prop,
then pulling it by finger-end
nearer to hand, add the second
branch and the third etc. until at
last a yokogz (wooden chip to fill
up to the gap with) is added to
fix up the whole.

Taking into consideration the strength and
the nature of materials, the degree of the
weight feeling of the vessel, and the environ-
ment in which the Ikebana is decorated, the
length of shin above the surface of water is
determined from one and half to three times
the height of the vessel. As for the shin
branch, its hiomote—sunny front (surface
that received plentiful light while it was
growing on earth)—should be put in a
posture of stretching itself upward facing
to the sun imaginarily set in the rear right-
or leftward, and the whole figure should be
in such a posture that the branch-top of
shin can be seen by half also from the front
side, while it assumes a posture of turning
upon light, warping at a back corner and
returning to mid-air so as to rotate gradually
that sunny front. The warping point of
waist is to be a little lower than the middle
of the shin, being laid out within the limit
not to jut out of the vessel.
The soe, arranged behind the shin, is to
direct its hiomote to the shin, drawing close
to the latter, so as to assume such a posture
as if it embraced the shin, stretching out
toward the sun.
The length of its branch being two-thirds
of the shin, the branch-top is to be laid out
two times and a half of the warping depth
of the shin.
The tai, arranged in front of the shin, be-
ing laid out to a front corner just in an op-
posite direction to soe, comes to show only the
shade to the front side, its sunny front facing
to the sun. The length of this branch

(58)
 The insertion point and the
way of assigning 4 position
to each branch.

Distribution of branch-tops
and the direction of hiomote
(the sunny front).

being 1/3 of the shin, the branch-top is to be laid out

just in the same degree as the warping depth of the shin.
The photograph shows a work of two large flowers of
chrysanthemum of spider form, together with small
chrysanthemum, arranged in a copper vessel specifically
named shikainami (gentle waves of the four seas), in
which the tai is composed of three small flowered
chrysanthemums, while the shin and the soe are repre-
sented each by a large flower. In accordance with the
degree of material strength, the shin and the soe are
arranged each accompanied by the respective ashirat
(supplementary branches), five, seven, nine. ..1in total,
that means odd numbers signifying a lucky omen. ‘The
photograph shows insertion order, beginning with the
branches constituting the taz nearest to hand.

(99)
 The photograph shows a shoka of five
roses arranged in an arc-shaped vessel with
a bright aspect, by which the arranger in-
tended to display enchanting beauty of rose
corolla. In arranging those flowers having
large corolla, especially, as in the case of
chrysanthemum and rose flowers—those ma-
terials that have slightly, or rarely, crooked
stems, the effect will be quite different ac-
cording to the way how to distribute flowers.
In treating three corollas, usually each one
is assigned to the shin, the soe, and the tai
respectively; in the case of five, each two are
(60)
assigned to the shin and the tai, and one to
the soe; in the case of seven, three are as-
signed to the shin, and each two to the soe
and the tai; in the case of nine, it is usual
to compose the work consisting of the three
parts each with three corollas.
This Ikebana has been composed into a
triangular form having an arc-shaped vessel
as the base, and a corolla of shin as the
apex, while the soe is laid out in large size,
which gives variety to the positive stability
of the entire figure, to the effect that it
enlarges the space this work occupies.
 In this shoka of blossoming loquats, the
material, which doesn’t appear beautiful so
long as it remains as it is, has become fit for
producing an impressive work touching us
to the heart, by expressing vivid rhythms of
living plants.
It shows a composition different from the
usual branch warping of fundamental shoka
form; this is because the regular position of
yoh (the positive or the sunny front) sup-
posed on this shoka has been transfered to
the rightside via the back of this work, and
each branch has undergone an _ organic
change according to the transposition of yoh
respectively. In this organic change, the
actual state of living things has been dis-
played, and the beautiful balance is here
lurking.
(61)
 This is a work of natsuhaze (vaccinium
ciliatum) and chrysanthemum of medium-
size flower, arranged in a copper vessel of
round bottle shape. In accordance with the
conditions of the vessel and materials, the
arranger has enlarged width of the structure,
so as to display the mildness of this work.
Speaking of the material property, in case of
those that grow on earth stretching meekly,
the sidelong extension should be minified and
the vessel also should be of a tall and
strained cylindrical shape, but in case of
those that extend their branches sidelong,
these wax-tree, for instance, should be ar-
ranged mildly into a sidelong extending
figure, in a short yet wide vessel. Further,
such materials that have wind-bent or
hanging-down property are to be arranged in
a kakehana (hung flowers) or tsuribana
(hung-down flowers) style, while water
plants and the like to be arranged in a basin
(62)
representing a mood of water-side scene are
to be formed into a specially variegated style.
Now styles of shoka are classified into three
main sorts, namely, the strained and rigid
style, the slack or mild style, and the most
freely designed style. The first is called shin
(literally truth or “typical’) style, and the
second is called gyo (literally act or “semi-
typical’) style, and the third is called sé
(literally grassy or ‘“‘transformed”) _ style.
This photograph shows a shoka of gyé-style.
The warping point of the shin branch has
been set at a lower part, and in accordance
with this warping, both the tai and the soe
have been laid out with suitable warping.
In the lights and shades of loquat leaves in
autumnal tints, a mood of autumnal season
can be amply felt, displaying the most beau-
tiful contrast with the snow-white corolla of
chrysanthemum.
 Perceiving the vital energy of
flowering plants deeply rooted in the
maternal earth, by which they have
built up their own figures, leaving
themselves to the hourly environ-
mental changes and the atmospheric
current, an arranger tries to distri-
bute properly the cut flowers and
arrange them in order to revive
them on a vessel—such is the Japa-
nese Ikebana.
The combination of two materials
—kimmeichiku (Sinoarundinaria
ret: culata var. Castillonus) that ap-
pear to be swayed by the wind, sub-
ei LD MEEBit
mitting to the atmospheric current,
and Poet’s Narcissers that show pure
and naive flowers—displays their
self-realizing force, while — they
assume free postures, without losing
vigour to stretch themselves, nor des-
cending to wanton figures. The
gentleness caused by leaving them-
selves to the outside world combined
with the tension overflowing in their
interior let a mood of elegant beauty
be permeating in the surroundings.

(63)
 The photograph shows such a shoka of
Japanese iris arranged in a wooden vessel
symbolizing a small sailing-boat, that repre-
sents one of the traditional shoka form. This
figure symbolizes a boat lying at anchor and
the flowers have been arranged in the shin
style, because they constitute the subject that
reminds us of the mast. Though I say this
symbolizes an anchoring boat, yet we must
(64)
not forget the fundamental principles of ar-
ranging flowers. In the case shown by this
photograph, the flowers themselves represent
the beautifulness of iris in the early spring.
Preserving pliability peculiar to the nature
of iris, the beautifulness of these flowers look-
ing as if they bloomed just now, lies in the
combining way of leaves as well as in the
height of bloomed flowers and buds.
 Beauty of Ikebana will be brought forth
when natures of materials are kept alive so
as to let certain flower-form follow after the
former, the form being presumptively
adopted.
The photograph shows a work of common
broom together with azalea, in which the
combination of azalea’s nature projecting
branches in groups of stairs-like figure, with
the posture of common broom in the blossom-
season that shows swaying at their branch-
tops while stretching up with springy impetus,
has raised the consistent motion of a unified
structure of different natures to the degree
of beautiful rhythm. The movement of the
azalea that juts forth from this side moving
gradually to the swaying common broom
in zigzag motion is the point worthy of note
in this shoka.
When this technic is applied to a vessel
of nijugirt (vessel with two insertion open-
ings) by inserting each sort of the plants
separately into one opening, we get another
style of shoka that is called nijuike (two-fold
insertion), and following after the way of
treating azalea as is seen in this photograph,
when only the branches of this part are
independently arranged in the lower opening,
we get another style called tachinobori-ike
(ascending style).
(65)
 The photograph shows a shoka of nijuike degree that permits us to perceive vaguely the
in which flowers of thea sasanqua are arrang- tai, and make the smaller part display the
ed in the upper insertion mouth, and staff action of the taz. These two parts, pulling
vine and iris in the lower opening. In nijuike, and responding each other, show the beau-
the two flower figures at the upper and the tiful current of lines and balance, while each
lower openings are, so to speak, to be fused of these two parts is working toward different
into one. Nuzijutke has two types, one is that direction.
in which flowers at the upper mouth are
arranged in the larger figure, and those at
the lower in the smaller figure, while the
other type is just contrary to the former.
The photograph shows a work which follows (ns
after the latter type. The larger parts have
constituted the shin and the soe branches,
while the smaller part has constituted the tai,
both being fused into one. For this purpose,
while the shin, the soe, and the ta: are
perceived in the respective parts, the arranger
should confine the larger parts within the

(66)
 The photograph shows a shoka of
Spiraea cautonieusis arranged in a hung-
down vessel imitating a boat, that reminds
us of a scene of a sailing boat that is run-
ning on the sea-surface with it swollen sail.
The figure of flowers is constructed by the
part of the sail and that of the scull. The
part representing the sail shows the shin
and the soe of the ordinary shoka form,
and this part should necessarily be bent
toward the bow so as to imitate a boat
sailing before the wind, while the scull is
to be laid out in large size toward the
stern, and to this, at its lower part, is
added a small branch corresponding to
the tai in ordinary shoka form. Such a
figure in which the bow faces to the left
is considered to symbolize an outgoing
boat, that means an Ikebana showing a
very lucky omen.

(67)
 This is a kakehana of cle-
matis arranged in a vessel of
bamboo pipe equal in type fo
that “shown on: p96. In
order to make use of the
material natures, the arranger
has adopted such a composi-
tion that corresponds to the
action of the branches. The
vine here hanging down is
assigned to the shin, the force-
ful winding part and_ the
leaves attached to it are
assigned to the soe, and one
corolla of Clematis flower is
regarded to constitute the taz.
The ascending figure of vine-
tips that wish to stretch up
in the air indicates an earnest
hope which the frail possess
in common. As a shoka of
so-style is to be composed
according to the figure of the
material being either hanging
down or wind-bent, it is
important not to overlook this
earnest hope and take it into
form composition.
A plectrum-shaped board
on which a flower-vase has
been hanged is called a tare-
bachi (hanging plectrum),
contrived for the purpose of
hanging a vessel on a wall
where no nail is found.

aN

A bird’s-eye view of composed

branches

(08)

A shoka is ordinarily composed of one or
two sorts of plant, and this is because an
arranger usually tries to make the beautiful-
ness of plants most impressive, by abstracting
the immutable principles lying in the intricate
Mighty Nature and transfering them into this
simple construction, but there are sometimes
found such cases where different sorts of
materials, each keeping its own situation, are
fused into one, to the effect that the whole
produces a special mood, and for that pur-
pose a technic called sanshuike (arranging
three sorts) is adopted, where three sorts of
materials are used. The assortment and
composition of materials in sanshuike resem-
ble that of nishutke.
pasranitnncones
The photograph shows a sanshuike of
willow and plum branches and kale leaves,
in which three sorts of materials, namely,
willow branches that hang down gently, plum
branches that extend fragrant and springy
twigs, and kale leaves that. show sidelong
extension displaying beautiful coloring in-
spite of the severe cold, have produced pure
and elegant atmosphere, without defying one
another.
(69)
 The photograph shows a sanshuike of —
Japanese iris, common pear blush (Exo-
chorda racemoso), and fragrant plantain lily
(Hosta plantaginea). In order to make
most of each material property and fuse them
into one, the arranger adopted as his compos-
ing way both gyakutai (contrary-body type)
and soenagashi (soe-flowing type), each of
which is one of the highest techniques in the
shokaform. The gyakutat is a type, in which
(70)
each of the direction of the soe and that of
tai stretches out just contrary to the usual
definite direction, and the soe-nagashi is a
type, in which the soe is laid out far longer
than the usual cases, while it is set in sluck
motion, as if a liquid body flew out by itself.
In order to compose a shoka of sanshutke,
where to set assumptively the position of yoh
will be the key with which the arranger opens
the door of either success or failure.
 In this shoka, the arranger
has transfered the yoh-point to
a backward point of this work.
As the result of it, the original
soe leaving its traces in leaves
of Japanese iris, the common
pear blush that should take
part of back accessory to the
shin has been laid out in large
size, expressing its function as
the soe, and in accordance with
this, a leaf of fragrant plan-
tain lily has been given func-
tion operating toward the right.
In co-operation of these three
sorts of plant, brightness and
impetus have been well re-
presented.
A work of sanshuike re-
produced on p. 69 has also
been given similar composition
to the former, but in this case
yoh has been transposed to the
rightward front, and the tech-
nique of shinnagashi (shin-
flowing type)—letting the shin
branch flow—has been jointly
used.

A work of sanshuike re-

produced on p. 71 is composed
of three materials, Japanese
apricot, tulips, and Japanese
iris, which make us feel posi-
tively the spring sunlight. The
position of yoh has been set at
the usual definite point of the
rear of this shoka, only in the
higher point near to mid-air.
Accordingly, the Japanese apri-
cot and the tulips also strongly
represent such a force meekly
stretching up, but the I77s japo-
nica that should take part of
the rear accessory of the
shin has been extraordinarily
swayed to the rightward in ac-
cordance with its own nature.
Corresponding to the action of
this iris japonica, blades of
tulip show a sign of movement
to the leftward so as to keep
a good balance. This work has
represented a mind deeply
moved by the growing impetus
of sprouting plants embraced
in the arms of sunny spring.

A bird's-eye view of composed branches

(71)
 Dittering from the shoka form which
makes us discover beauty of life in the
appearance of a single plant, rzkka leads us
to represent a grand artistic effect revealed
in a scenic beauty by arranging plants grown
on a soaring peak or an extensively spreading
field or a range of hills, each material co-
operating one another and unifying into one
inspite of their various changes.
Most of the plants, though they stand in
a complex situation, can be distributed in
such a good balance between front and back,
or right and left, that any material combina-
tion which might appear unnatural so long as
it is seen separately comes to be given a due
place respectively, so as to show an organic
connection as an individual in the whole,
which produces an impressive atmosphere by
(72)
fusing into one harmonious body.
As for the fundamental principles, namely,
that the arranged figure of flowers is com-
posed on a balance of in and yoh, the
proportion ratio of each part, and the way
of treating materials etc., the rikka form
doesn’t differ from that of the shoka, but the
rikka has the height of ca. 150 cm and the
width of ca. 120 cm, and its arranged figure
of flowers is massive, many pieces of materials
being used, in such a way that it is composed
of nine principal branches — shin (main
branch), soe (assistant), uke (receiving),
nagasht (flowing), hikae (accompanying),
mikosht (seen over, suggesting a vista), shé-
shin (real center), doh (trunk), and maeoki
(anterior) .
 The rikka form has two styles, the one is
called sugushin (direct shin), in which the
“main” branch stretches up directly, and the
other is called nokijin (once digressing shin),
in which the top-end of the “main” branch,
after once digressing right- or leftward, re-
turns to the center. The photograph shows
a work of the first style with its “main”
branch stretching up directly, which is fit
to represent a tranquil and sublime emotion.
A rikka of nokijin style includes various types,
such as one in which the “main” branch
digresses from the higher part of the central
body, as is seen in the illustration placed
below, and another in which the “main”
branch digresses from the middle part, and
then another in which its “main” branch
digresses from the lower part, each of which
corresponding both to the object of repre-
sentation and to the natures of materials
various in its appearance, and all the prin- necessarily mean a mere copy of each mate-
cipal branches other than the “main” branch rial, but the work should be composed as
also display the respective changes according something which shows a moment that re-
to the change of the “main” branch. minds us of certain scene behind _ itself,
Though the respective materials which suggesting its environment the work tries to
constitute a rikka should reproduce their depict. Various sorts of materials that have,
natural figures as really as possible, it doesn’t inspite of their difference in color and figure,
such figures and natures suitable for this
supposed environment are selected. The
substantial sympathy consisting in the various
materials makes up the bond that unifies
the multifarious.
The photograph shows a rikka arranged
on the basis of key-note suggested by the
scenic mood of the plants that adorn the foot
of an autumnal mountain, representing the
most impressive beauty of natsuhaze (vac-
cintum ciliatum) tinted by the autumnal sun-
light coming through a dense cluster of trees.
For this purpose, the “assistant” branch of
Graphical explanation natsuhaze has been projected longer than
of the fundamental usual, and the other branches also have
construction of nokt- been given strained composition in responce
jin-rikka. to the movement of the former, the whole
displaying beautiful balance of strength.

(73)
 When a rikka is arranged, a deep vessel
with a wide mouth is used. Accordingly
a special device has been made. First, several
straws are bundled into a stick, which is then
bound with a string at three spots. Then
several of these sticks are bound together
again with a string at three spots and
inserted into the vessel.
As for the branches of material flowers,
those that have properly slanted figures in
their present state are chipped aslant at the
lower end, and each of those that haven’t
such figures is to be appropriately nailed up
to another trunk with a sharpened end, then
(74)
they are inserted into this bundle of straw.
And as for the flowering plants that have
weak or short stems, an uwkezutsu—a legged
holding pipe—is to be prepared for, which
shall be first inserted, and then the plants
are inserted into it.
When these preparations are completed,
first the “main” branch is set up, and then
the “receiving” branch which corresponds
to the former, and the “assistant”, the
“flowing”, the “accompanying”, the “trunk”,
...thus principal branches are to be inserted
right and left alternately, good balance being
taken into consideration.
 Sometimes the arranger uses the natural
shape of a branch as it is just like the
illustrated photograph, but in order to re-
present an ideal scenic mood, he usually adds
some twigs and leaves in such a way that
they may appear really natural. Among
the principal branches, those of wooden
materials that take principal parts are to be
inserted earlier, and to them twigs and leaves
are added so as to adjust the figure, then,
after the flowering plants that constitute the
principal branches are inserted, accessory
twigs or flowers are to be added.
The photograph shows a work which has
been anomalously composed in such a way
that the lower twigs of the “main” branch
have covered as far as the upper part of
the “receiving” branch, those twigs reserv-
ing their interesting taste, and in accord-
ance with this irregular form, the “accom-
panying” branch has been laid out in large
size, and the “receiving” and the “flow-
ing” branches have been only vaguely
activated by the flowering plants. This
variation will be clearly cor ena when
itis compared with a standard form illus-
trated in the lower column.
 The photograph shows a rikka, in which
the arranger has made best use of naive
material taste. Its figure has been simplified,
the “‘vista” branch being omitted from the
nine principal branches with accessory
branches also extremely diminished, to the
effect that the function of principal branches
has been all the more distinctly displayed,
so that we can appreciate the naive beauty
of this work.
Formally speaking, this is a work of sugu-
shin style (direct shin style), yet the interest-
ing shape of the pine branch, effectively
applied as it is, has been laid out rightward
in large size, and accordingly the “assistant”
and the “accompanying” branches have been
(76)
made only slightly active, while the “receiv-
ing” and the “flowing” branches have been
I
intensely activated in response to the ‘‘main”
branch. Especially, as the “‘anterior” and the
“flowing” branches also, pine branches have
been used, in order to set the focus of the
structural interest on the function of these
three principal branches. You can also find
a specific character in the way of dealing
narcissi that constitute the “accompanying”
branch, handling the narcissus blades as if
they were thrown out. Both of the two
techniques, the “anterior” pine branch and
the negeha (thrown blades) of narcissi, be-
long to the time-honored traditional styles
of the rikka form.
 The rikka form has a specific character
in its complex composition as well as in the
diversity of materials, and with respect to
the following seven plants and trees, that is,
pine, cherry-tree, iris, lotus, chrysanthemum,
maple-tree, and daffodil, a special technique
of rikka has been handed down to this day
that the material should be limited to a single
sort. It is a specific rikka form in which
many beautiful phases of a single sort of
material are arranged in order, so as to
make them into an artistic work. We are
deeply impressed by the variety of beauty
consisting in a single sort of material.
_ The photograph shows a rikka arranged
with iris only as a single sort of material, in
which the beauty viewed in a group of iris
blooming in purple and white can be clearly
extracted.
By copying the natural figure, the flower
constituting the “main” branch has been
slanted toward yoh (leftward in this case),
and in response to this movement, the
“assistant” blade has been waved to a high
degree. By the action of these two principal
branches, postures of the “assistant” and the
“flowing” branches activated in righthand
side can be automatically introduced. We
perceive charming beauty of the young and
fresh iris, overflowing of itself in its free and
smooth posture.
(77)
 This photograph of a rikka shows a grand
view of a mountain-recess, its precipice being
visible. “The weather-beaten figure of an old
pine tree with its lower branches is well
expressed by the main, the assistant, the
trunk, and the flowing branches; in
rightward side of in, a flowering plant has
been secretly added, showing a strained feel-
ing, and as the accompanying branch a
brightly blooming rose was adopted.
Here the arranger has created a rigorous
taste of elegant simplicity plus affability of
those lying near-by.
(78)
An aged trunk stretching up with its tree-
top, rightward swaying, constitutes the main
branch, and an old twig as the assistant
branch has been activated as it is. Here a
special style hidari-nagashi (leftward flowing
the style) has been applied, its flowing and ac-
companying branches coming forth just con-
trary to the ordinary way. In response to
the rightward movement of the main branch.
the flowing branch has been laid out leftward
in large size, so as to make it well-balanced.
This is a work of scenic representation; its
teclinics is not a mere formal change of
materials.
 The photograph shows a rikka represent-
ing scenic beauty of an autumnal mountain.
It has also such a figure, in the same way
as the rikka illustrated on p.78, that the
accompanying and the flowing branches have
changed their places with each other, but
it differs from the former in that the main
branch having weakened strength has been
rightward slanted—that is, in this case, to
the positive or sunny side, yoh—following
after its natural shape, and the receiving
branch which appears to be stronger than
the main branch has been strongly projected
leftward, so that the flowing and the ac-
companying branches have changed their
places as was related, in order to keep a good
balance by stretching the flowing branch far
out rightward.
Five leaves of magnolia have been used
as the trunk branch in this rikka. Broad
leaves are often used at the inner part of the
trunk branch in order to conceal the inserting
spot of ashirai (accessory) branches, but in
the present case broad leaves were allotted
for the part of the trunk branch itself, to
the effect that the whole work expresses a
freely stretching mood and ample sensations.
(79)
 The photograph shows a rikka in which which displays such a function, but in the
the arranger has tried to express his interest present case, the interest of this function is
in the soft and gentle curves drawn by a alloted for the main branch. It is anomal-
drooping flowering cherry-tree that may be ous that the main branch is given such a
found in the bright sunbeams of the early function, and accordingly a plum yew of the
spring. assistant branch has been laid out leftward
The cherry branch constituting the main in large size, while the accompanying branch
branch is flowing right-ward in a _ large has been composed of a small pine branch,
curved line. In the stretching manner of and the flowing branch composed _ of
this branch, lies the key point of success or a tiny baimo (Fritillaria thunbergii) has
failure of this rikka. With respect to a been put in its place, less weight being at-
branch of this sort, as is already explained, it tached to the same, and the accompanying
is important for the branch to possess such branch has been treated in a more powerful
a soft movement, left to its surroundings like figure than usual, the whole being able to
that of some liquid flowing out, in other keep a good balance. This is one of the
words, it should not have a stout and stiff types of Ikebana that require the most
figure. The flowing branch, which is one difficult techniques transmitted in Ikenobo
of the principal branches, is nothing but one School.

(80)
 The photograph shows a rikka which re-
presents throb of life revealed in plants that
are going to stretch their branches and make
their flowers bloom in the coming spring.
The main branch of kobushi (magnolia
kobus) and the flowing branch of pine-
tree, replete with strength in their appear-
ance, express the swell of vital energy.
The throb of life perceived in this rikka has
been brought forth by the concord within the
branches and their impetus.
The main branch, magnolia, flows toward
right, showing large curved lines, and the
flowing pine branch which accepts the action
of the former, after once flowing out left-
ward so as to keep balance of right and left,
shows a sign of turning back to follow after
the action of the former. Chrysanthemums
employed as the accompanying branch shows
a sign of revolving movement from the right
to the upper left side, as if it tried to stop the
former movement, and the second movement
turning round into the stream of the leaves
of Japanese iris which constitute the vista
branch, flows out rightward in a large curved
line. In the movement of camellia branches
and leaves also, which tightens the strained
effect of the lower part, a sign corresponding
to it can be perceived. We can also find the
balance of strength in those which correspond
and pull one another, and the movement
of branches changing from strained form
into fluid phase. ‘These moments have been
unified into one in representing a work filled
with vivid appearance of life.
(81)
 The photograph shows an Ikebana ar-
ranged by following after the composing
techniques in a smaller scale, diminishing the
number of branches as far as possible, in
order to introduce a modern sense into this
work. As to the movement of the branches
and the way of their corresponding one
another, the fundamental principle of rikka
is adopted as it is, yet in order to set up
each branch, a kenzan (a necdle-points
holder) is used, treated in the same way as
in the case of nageire-moribana (thrown-in
and piled-up) form. As for the flower
materials, Strelitzia Reginae, acacia, and the
like are used, which express bright and neat
sense, so as to develop a rikka form which
is fit to melt into the modern living.
(82)
Looking back to its own historical passage,
the present Ikebana of the Ikenobo school is
proceeding on its way, attempting incessantly
to develop a new phase. Having its long
history, Ikebana should always co-exist with
our own livelihood, as a living thing of the
present age in itself.
The very common feeling of human life
felt in the attitude of those who look at
flowering plants is the fundamental origin
from which Ikebana comes into existence.
Seeking for “reliance upon the future” just
here in Ikebana, a man, in daily life, arranges
flowers, appreciates flowers, always entertain-)
ing his expectation toward the peaceful and
fruitful world.
History of Ikebana fountain near-by, a small image of Avalokitesvara
carried with himself being hanged on a branch
of Aralia elata. When he finished bathing, he
went to take up the image in his hand, but it
would not move. Through a revelation in a dream
of that night, Avalokitesvara ordered him to erect
a temple there, where-in the image should be
enshrined, so he built a hexagonal temple for the
sake of the image of Avalokitesvara. Thus far
the lengend tells us concerning the establishment
of the present Rokkakudo-temple, where-in the
ancestors of Ikenobo have dwelt generation after
generation, taking over charge of daily memorial
services, and offering flowers to the image of the
buddha and the departed spirits of forefathers, up
to the present age. As the family lived by the
side of a pond, it was called by the name of
Ikenobo—a temple by the pond.
Since Kyoto became the capital of Japan in
794 A.D., Rokkakudo has come to be a central
object of fervent faith in general still more.
From the end of the 13th century to the begin-
ning of the 14th century, a new style of residential
building came into being, while, among paintings
and industrial art objects such ones that could be
supposed primitive illustrations of Ikebana began
to appear.

Inserted Flowers of the

Primitive Stage
Since the beginning of the 15th century, people’s
inclination to love flowers became still more
permeated. About the middle of the same century,
says a record, Ikenobo Sengyo of the Rokkakudo
temple could arrange flowers in a exquisite manner,
which the public wished to see and thronged about
‘Origin of Plower-arrangement his gate.
into the world.
Then Ikenobo Senjun came
He displayed excellent abilities
successively

not only in flower arrangment, but in renga

Our ancestors have lived their happy lives
blessed with pretty flowers from season to season
and surrounded by beautiful scenes. Those people
who had assumed mental attitude of loving birds
and of revering Gods with awe came to believe
piously in Buddhas also, that were afterwards
introduced from the continent.
Toward the end of the 6th century, says a legend,
the then prince regent Shotoku entered a wilderness
searching for wooden materials for the use of tem-
ple-building, and he happened to bathe in a clear
—Japanese verse capping of tanka-poetry style.
Works of Ikebana in those days were, according
to a record which is said to be copied in 1499
A.D. and other historical materials, composed of
elegant motoki (the core) and shitakusa (under-
growth or added grass) waving at the mouth of
the vessel, and they were arranged with two sorts
of branch style, the one expressing a natural scene
and waving toward the guest’s side, and the other
waving toward the host, to the effect that both
the host and the guest could appreciate them.

ra)
ee

ROR
SE
“OPS
AN
see
Establishment of
Tatebana (standing flowers)

Ikenobo Sen’o began his ac-

tivity in the beginning of the
sixteenth century. He amused
himself with the elegant charm
of flowers that lived through
enduring heavy rain and dew or
violent wind and snow, thought
of the emotional mood of sea-
sons, and arranged flowers in
order to come in contact with
the reality of the world.
This morale, being inherited
by Ikenobo Sen’ei, expanded
still more, resulting in that ac-
tivities of various principal
branches came to be recognized.
We can imagine what the figure
of Ikebana in those days was
like, through Sen’ei’s book of
secrets (densho), its contents
being those of Sen’o’s that has
been said a record written in
1545 A.D.

Completion of Rikka
In the latter half of the 16th
century, the Japanese arts
bloomed in splendor and gorge-
ousness along with the opening
of the samurai—warriors—era,
and Ikebana also came to show
all the more exact structure by
Ikenobo Senko’s coming into the
world. He often held flower-
arrangement meetings, gathering
many disciples interested in
Ikebana, who had flocked to this
master, just as plants bending
to the wind. The _ tatebana-
figures reproduced in a_ book
issued during 1677 A.D. are
considered standard samples of
Ikebana-styles in those days.

(84)
 _ The next master who succeeded to his
family name of Ikenobo in the earlier part
of the 17th century was known under the
personal name of Senko, being just the same
with that of his father, and his works of
Ikebana swayed the minds of men both high
and low, without distinction of the clergy and
laity. These circumstances led to the result
that the golden age was established in the
history of Ikebana, the rikka-form being
completed by him.
_ His works of rikka were full of exhilarat-
ing, large-hearted sense, accepting the natural
changes, shown by plants as they really were,
into his Ikebana-form, which showed
moderate tension, each branch closely cor-
responding with one another in its mellow
appearance, without any compulsion in the
shape of his work.

Rikka in the Period

of Full Maturity

After Senko’s death many ex-

cellent pupils played active parts,
and in the latter half of the 17th
century Ikenobo Sen’yo, then in
the latter part of the 18th centu-
ry Ikenobo Senko—ideographi-
cally differing from its fore-
father—became the leader of
coeval specialists, and finished
the rikka-form, going into its
details. The Rikkadensho—the
book of rikka-secrets—one of
family treasures of Ikenobo, has
records of various Ikebana in
those days.

(85)
Development of the
Nageirebana
(thrown-in form)

In the first stage of Ikebana,

works of a simple-formed nage-
irebana were already composed
along with tatebana, each work
being an impromptu, and as
Sen-no-Rikyu stated that flowers
should be arranged so as to
appear as if they were growing
in the field, [Ikebana for the tea-
ceremony room—chabana—were
arranged with the same purport
as this nageirebana.
This thrown-in form began to
be widely carried out in the
latter half of the 17th century,
as the tradesman class came to
dominate others in — society.
According to the publications
issued in those days, the works
of this nageircbana were formed
of the in-(negative or shadowy) -
branch and the yoh-(positive or
sunny) -branch, letting its beau-
tiful flowers waving toward the
guest-side so as to entertain the
latter with this admirable
branch, and setting the other
branch aslant toward the host.
These two sorts of branches were
put together corresponding with
each other so as to be formed
into a springy shape. Among
those old works we can find out
such ones that are suggestive of
the present nageire-moribana
form.

(86)
 We can find that rikka and
chabana have had some influ-
ence on composition of nageire-
bana, and yet history shows that
the latter gradually came to
show its special features.

Establishment of the
Shoka-form
At the beginning of the 18th
century mnageirebana came _ to
play an important part in place
of the rikka-form, and along
with these circumstances, the
function of the two principal
branches in nageirebana deve-
loped into those of a new form,
namely one that was of ascend-
ing shape and the other cor-
responding to the former, and
further a third branch checking
their action was brought forth,
so that a work of Ikebana came
to be composed of three princi-
pal branches.

(87)
 Ikenobo Senjo who succeeded
in his youth to the family name
in 1786 A.D. developed this
nageirebana-form further into
an advanced one, altering the
structure according to the action
of respective plants, and com-
pleted the shoka-form which had
a unified shape. These tech-
niques were transmitted to Ike-
nobo Semmyo, and then to Ike-
nobo Sensho, thus successively
from father to son, until to the
present master. The representa-
tive works of Ikenobo Senjo
have been handed down _ to
posterity as “the illustration of
hundred vases.”

Origination of Nageire-moribana (thrown-in, piled-up form)

In the earlier part of the 20th century,

Japanese people, who had already sufficiently
accepted Western civilization, gradually built
a new mode of life on the basis of their old
tradition. This exercised a remarkable in-
fluence also upon Ikebana, where the spirit
of liberty came to thrive accordingly, result-
ing in that the nageire-moribana form (mod-
ern thrown-in, piled-up form) was brought
forth, in which an arranger attached im-
portance to realistic representation of the
individual object, parting with standards and
rules. Since then, half a century has already
elapsed, and Ikebana of the present age,
reflecting on its long traditional passage from
the standpoint of modern intelligence, is
trying to take a new step of perpetuous
progress.

Since the establishment of Rokkakudo about one thousand

three hundred and sixty years—and since Ikebana was
left on an exact record some five hundred years—having
passed, the passage of Ikenobo is nothing but a history of
Ikebana itself, and Ikenobo has been getting more and more
prosperous, as the incessant original spring of the current of
Ikebana. It draws up something clear from the depth of the
earth, where those flowers that wait for invitation to Ikebana
are blooming in their glorious hope and expectation.

(88)
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