DOI Heft:
Nr. 43 (October 1896)
DOI Artikel:Conder, Josiah: Japanese flower arrangement (first article)
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17298#0039
Japanese Flower Arrangement
the long line and the centre. Different curves will
also be given to the two, so as best to fill the
hollows of the design and produce balance and
variety at the same time.
A closer analysis of the radical lines of a Japanese
flower arrangement will show that they are bounded
by an imaginary right-angled triangle placed on its
angle, so as to have its hypotenuse perpendicular
to the surface of water in the vase (Fig, 3). Sup-
posing we take the same triangle, placing its
hypotenuse horizontally and arranging the radical
lines within it so that the main or central line
springs from the left corner, this exemplifies a
modified style of arrangement, such as is applied
to flowers placed in suspended vessels, or in stand-
ing vessels under shelves, or in positions where
but little height is obtainable (see Fig. 4). The
idea of such compositions is to suggest growths
\
LIXEAL COMPOSITION (FIGURE 4)
hanging over the edges of cliffs or banks ; and to
complete the illusion, one of the lower lines of the
design is prolonged so as to form a long drooping
branch or streamer. The above two types, which
we may call those of the high and low triangle,
may be combined in one vessel which has several
mouths in ascending stages, such as some kinds of
bamboo vases.
From the above description it may be imagined
that the Japanese arranger of floral cuttings always
worked in one flat plane and that his compositions
were mere silhouettes, having no mass or body.
But this is not the case, for though the composi-
tions under review are designed principally to be
seen from the front, yet considerable relief is ob-
tained. Some branches are bent more forward,
some more backward, and some partake of a double
character, all with the object of giving depth and
variety in mass. All the stems must, however,
overlie one another and be closely connected at the
base, so that from the front view one united stem
only appears. This does not, however, apply to
certain double or triple arrangements in broad
shallow vessels or in staged vases, which may be
regarded rather as different compositions placed
side by side, or one above the other.
Given the radical lines explained above as a key
or skeleton for designing with, the florist selects
stems or branches of suitable lengths, and after
trimming off excessive foliage, kneads and bends
them with the fingers until they assume the desired
curves, for the purpose of combination. It is a
mistake to suppose, however, that all material must
be in attenuated lines. Often several cuttings will
be massed together, in which combined group
may be detected a prevailing line or direction
corresponding to the radical form.
In explanation of the plates given herewith, it
must be borne in mind that there are a number of
different schools or styles of flower arrangement
inaugurated by different masters. Thus, there is
the Ko style, the Enshiu, the Shinsho, the Sekishin,
the Bisho, the Kodo, the Seizan, the Hana-no-moto,
the Ikenobo, and the Rikkwa styles, some of which,
however, differ very little from each other in general
results.
Plate I. is a composition in the Ko style. It
consists of three lines, two being joined by pine
branches, and one by a lily, with one bud and one
open flower. The bow-shaped bend of the central
line, one of the characteristics of the style, is very
clearly defined in this example.
Plate II. A characteristic of the Ikenobo style
is well illustrated in this composition. It lies in
the absence of open lineal character. The sprays
of the chrysanthemum—of a kind known by the
Japanese as the spring chrysanthemum — are
arranged in a connected mass, in which, however,
a radial tendency with triangular perimeter may be
detected.
Plate III. A handsome bronze vase of Chinese
pattern is here employed, with a composition of
azaleas, designed by a master of the Hana-no-moto
school.
Plate IV. This illustrates a composition with
chrysanthemums in a curious kind of flower-basket
having a large arched handle across, which the
design cuts.
Plate V. This is another example in the Ko
style, the plant being the Aspidistra lurida. It will
be observed that the arched central line of the
composition is well formed, and at the same time
27
the long line and the centre. Different curves will
also be given to the two, so as best to fill the
hollows of the design and produce balance and
variety at the same time.
A closer analysis of the radical lines of a Japanese
flower arrangement will show that they are bounded
by an imaginary right-angled triangle placed on its
angle, so as to have its hypotenuse perpendicular
to the surface of water in the vase (Fig, 3). Sup-
posing we take the same triangle, placing its
hypotenuse horizontally and arranging the radical
lines within it so that the main or central line
springs from the left corner, this exemplifies a
modified style of arrangement, such as is applied
to flowers placed in suspended vessels, or in stand-
ing vessels under shelves, or in positions where
but little height is obtainable (see Fig. 4). The
idea of such compositions is to suggest growths
\
LIXEAL COMPOSITION (FIGURE 4)
hanging over the edges of cliffs or banks ; and to
complete the illusion, one of the lower lines of the
design is prolonged so as to form a long drooping
branch or streamer. The above two types, which
we may call those of the high and low triangle,
may be combined in one vessel which has several
mouths in ascending stages, such as some kinds of
bamboo vases.
From the above description it may be imagined
that the Japanese arranger of floral cuttings always
worked in one flat plane and that his compositions
were mere silhouettes, having no mass or body.
But this is not the case, for though the composi-
tions under review are designed principally to be
seen from the front, yet considerable relief is ob-
tained. Some branches are bent more forward,
some more backward, and some partake of a double
character, all with the object of giving depth and
variety in mass. All the stems must, however,
overlie one another and be closely connected at the
base, so that from the front view one united stem
only appears. This does not, however, apply to
certain double or triple arrangements in broad
shallow vessels or in staged vases, which may be
regarded rather as different compositions placed
side by side, or one above the other.
Given the radical lines explained above as a key
or skeleton for designing with, the florist selects
stems or branches of suitable lengths, and after
trimming off excessive foliage, kneads and bends
them with the fingers until they assume the desired
curves, for the purpose of combination. It is a
mistake to suppose, however, that all material must
be in attenuated lines. Often several cuttings will
be massed together, in which combined group
may be detected a prevailing line or direction
corresponding to the radical form.
In explanation of the plates given herewith, it
must be borne in mind that there are a number of
different schools or styles of flower arrangement
inaugurated by different masters. Thus, there is
the Ko style, the Enshiu, the Shinsho, the Sekishin,
the Bisho, the Kodo, the Seizan, the Hana-no-moto,
the Ikenobo, and the Rikkwa styles, some of which,
however, differ very little from each other in general
results.
Plate I. is a composition in the Ko style. It
consists of three lines, two being joined by pine
branches, and one by a lily, with one bud and one
open flower. The bow-shaped bend of the central
line, one of the characteristics of the style, is very
clearly defined in this example.
Plate II. A characteristic of the Ikenobo style
is well illustrated in this composition. It lies in
the absence of open lineal character. The sprays
of the chrysanthemum—of a kind known by the
Japanese as the spring chrysanthemum — are
arranged in a connected mass, in which, however,
a radial tendency with triangular perimeter may be
detected.
Plate III. A handsome bronze vase of Chinese
pattern is here employed, with a composition of
azaleas, designed by a master of the Hana-no-moto
school.
Plate IV. This illustrates a composition with
chrysanthemums in a curious kind of flower-basket
having a large arched handle across, which the
design cuts.
Plate V. This is another example in the Ko
style, the plant being the Aspidistra lurida. It will
be observed that the arched central line of the
composition is well formed, and at the same time
27