“Ikebana is the art of space – the space between branches, the space between flowers and leaves and the space between masses. In other words, the space between the branches and flowers comes alive. This space is a plentiful void projecting tension and power.”
-Sofu Teshigahara, Founder of Sogetsu School of Ikebana
We are going to switch gears this month and instead of a design crush, we’re going to do a bit of a design crush and talk about ikebana! With origins over half a millennium old, ikebana is one of the oldest and most notable forms of floral design. With Buddhist roots, the art form originated in Kyoto, Japan as a way to honor the dead with offerings of flowers. The process of this minimalist style of floral design is at once spontaneous and yet very deliberate. Though ikebana is no stranger to the west, many westerners are more familiar with European forms of floral design, which are usually more volume-centric and more often focused on specific textures or color palettes, to say nothing of monetary value. If summed in a word, European design might be “festivity” or “splendor”, whereas ikebana would more likely be a word like “meditation” or “reverence”.
With plenty of exceptions of course, western design philosophies favor symmetry and an immediate sense of balance in form and color. More is often more, coordinating trim and lux containers abound, and it’s wholly commonplace to hear words like “jewel”, “sorbet”, or “grellow” (grey and yellow) being thrown around when the discussion of color inevitably comes up. Ikebana, on the other er… Eastern hand, places a strong emphasis on not only the outcome, but on the journey itself. Ikebana is commonly regarded as a centuries-old form of meditation on the appreciation of nature and humanity’s relationship to its natural surroundings. Each focal flower in a traditionally-styled arrangement being symbolic of an element or emotion. Less is almost always more with this philosophy of design and flowers and other natural elements are (again, with many exceptions) chosen for their symbolic significance more readily than a role in a design scheme or color relationship. For example, May 5th marks the beginning of a festival for boys in Japan. Ikebana created during this month may predominantly feature blue iris, symbolic of bravery and courage, whose leaves are thought to resemble the sharp blade of a samurai sword.
In addition to differences in usage and intention, there are many differences in the methods of constructing an arrangement. For example, European style arranging largely focuses on proportion of a mass of flowers in relation to a container; vessels are often ample enough to hold a suitable amount of water relative to the size of the bouquet. Western styles are normally arranged either directly in the vase as a one-sided arrangement or in the round, but they can also be arranged in-hand and then placed in a vase. Ikebana most traditionally uses broad, shallow containers, as they are evocative of standing pools of water and contribute to the feel of a natural setting. To create the strikingly vertical compositions characteristic of these minimalist styles, kenzanare used. Kenzan, also known in the flower industry as design frogs, are weighted discs with a surface of sharp spikes on to which branches and stems are pushed into to create the skeleton of the composition, with additional smaller elements being nestled throughout. Furthermore, leaves, stems and branches can, with practice, be expertly manipulated to further lend themselves to more pleasing configurations. For instance, a straight stem can be gently softened through bending or twisting to a curved stem if the designer sees fit; a broad leaf could be folded, spiraled, or twisted to create a new and transfigured shape.
The earliest form of Ikebana is known as Kuge. This form of arrangement is the most simplistic in nature, characterized by a sparse arrangement of branches and blooms. Along with Kuge, there are four other main styles of traditional Japanese design. The second oldest form is called Rikka, a practice utilizing seven design elements to symbolize different elements found in nature:
ryou – a peak
gaku – a hill
rou – a waterfall
shi – a town by the water
bi – a valley
you – the sunlit side of the scene
in – the shady side of the scene
Rikka, or standing flowers, is one of the more spiritual forms of ikebana and is a Buddhist practice for showing appreciation for the beauty and magnificence of natural elements. Rikka became popular in the 15th century and the term, for a time, was synonymous with Ikebana. Other styles include Chabana, meaning literally “tea flowers”, a style developed for Japanese tea ceremonies with a focus on a pastoral simplicity well-suited for such ceremonies. Another style, Seiko, utilizes symbolism in a more simplistic way and consists of three main elements, ten, chi, and jin, representing heaven, earth, and human, respectively. The intent of this form is to emphasize the beauty of the individual plant, bloom, or branch itself. A successful Seiko arrangement should express a sense of life bursting forth, much in the same way that green shoots can be seen sprouting up from melting snow. The last formal style of Ikebana is known as Jikuya, or free flowers. Jikuya is the most freestyle form of arranging in which non-organic materials are often used in conjunction with natural elements. Jikuya designs can be as freeform as desired, and are often more sculptural in nature, resulting in massive, frenetic expressions of form, line, and color.
Though formally appointed Ikebana arrangements have regimented guidelines, the process is actually very instinctual. A good Ikebana composition is executed by learning the principles, but also keeping an innate sense of intuition while arranging. In other words, use the guidelines, but don’t let your sense of creativity get swallowed up by the rule book! Ikebana is an inward practice of meditation in which an individual can immerse themselves hand-to-stem with nature. Touch the branch, bend the leaf. Feel what it’s made of. Use your judgement and imagination to explore both the capabilities and the limits of your medium as you quietly develop appreciations for the little details like the velvet on a pussy willow branch or the awe-inspiring variegated pattern on a ti leaf. The process is a dance of acceptance and assertion of the will of both the designer and the medium to create homages of the miraculous beauty of our natural world.
For more Ikebana inspiration, check out our Pinterest board!
Leave a Reply