Ikebana
Ikebana ( Japanese 生 け 花 also い け ば な , literally "living flowers") is the Japanese art of arranging flowers. The meditative form of Ikebana is called Kadō ( 華 道 , dt. "Path of Flowers"). Both students and teachers of Kadō are called Kadōka ( 華 道家 ).
Ikebana as an art
Ikebana is an independent art form developed exclusively in Japan. In addition to the tea ceremony , calligraphy , poetry and music, it was an essential part of the education of every nobleman. It was also practiced by samurai and the priests of Buddhist and Shinto monasteries. At first it was reserved exclusively for men. It was not until the Edo period (1603–1867) that the women of the nobility were taught this art. Likewise, it became a skill expected by high-ranking courtesans and the geisha . From the middle of the 17th century wealthy merchants and other members of the bourgeoisie also practiced this art. It was probably not until the beginning of the 19th century that it was also practiced by the women of the bourgeoisie in the large Japanese cities. At the end of the 19th century it became a compulsory subject in schools for Japanese girls. Since the middle of the 20th century, the art has been spread around the world and is now predominantly performed by women.
Sense of ikebana
The Ikebana arrangement is intended on the one hand to bring nature into the human habitat, but at the same time to represent the cosmic order. Through the arrangement, the designer shows his relationship to nature as well as his respective feelings that move him during the design. In the classic schools of Ikebana, the respective season must always be recognizable through the selection of the material. In contrast to the decorative form of the flower arrangement in the western world, the ikebana creates a harmony of linear structure, rhythm and color. While in the West the number and color of flowers are emphasized and mainly the blooms are considered, the Japanese emphasize the linear aspects of the arrangement. In this art, vase, stems, leaves, twigs as well as flowers are also noted. Most Ikebana shapes are based on the three lines shin (真), soe (副) and tai (体), which symbolize heaven, earth and humanity.
history
The beginnings of Ikebana go back to the 6th century of our era. Buddhist and Shinto deities were and are made flower offerings. The sacrifice consisted / always consists of three parts: the incense as food for the deity, the candle as a reflection of the universe and the flowers as a sign of admiration for the deity by man. See the adjacent picture of Toyokuni III., A memorial picture for Ichikawa Danjuro VIII. From 1854 with chabana on the wall, incense, candle and nageire on the small altar.
Several texts have survived from the Heian period (794–1192) that describe the admiration of members of the high aristocracy for nature in general and flowers and flower arrangements in particular. The Kamakura period (1192-1333) brought increasing social significance and growing prosperity for the samurai class . The Japanese knights practiced more and more in addition to the martial arts in the classical Japanese arts such as ikebana. A new architectural style emerged and since then the tokonoma (a prayer and meditation niche) has been an indispensable part of Japanese houses. Without a doubt, flowers and twigs were also placed in vases in the tokonoma from the beginning.
From the late 13th century to the 16th century, competitions were held at the imperial court on the occasion of the Tanabata (festival to celebrate the star Vega), in which members of the nobility and monks of the various monasteries competed to find out who could create the most beautiful flower arrangement. Towards the end of the Muromachi period (1333–1568), ikebana was subject to formal rules and the tatehana style ( tateru - to stand , hana - flowers) emerged. The first surviving manuscript, " Kao irai no Kandensho ", dates from 1486 and describes the rules for arranging flowers and plants. In 1542 Ikenobo Senno wrote the " Senno Kuden ", which for the first time ascribed to ikebana a meaning beyond the mere arrangement of flowers and plants according to aesthetic criteria. Towards the end of the 16th century, the Rikka style was completed by two flower masters, Senko I and Senko II. Like tatehana, Rikka also means “ standing flower ”, but is executed in a much more complex way. This first rikka has seven main elements, which all together should result in a reconstruction of a large natural landscape with rivers, mountains, lakes and people.
Parallel to the development of the development of Rikka was Chabana (茶花, dt. Teaflowers ) run. The chabana is part of the tea ceremony and consists of two lines, one for the guest and the second for the host. At the end of the 16th century, the Chabana developed into the Nageirebana ( flower thrown into it ). From this in turn the shapes of the Shoka emerged, traditionally worked with the lines shin, soe and tai and intended for formal occasions, and the actual nageire (投 げ 入 れ, dt. To throw something in ), which is always worked in vases and also from the three lines shin, soe and tai consists. The nageire was first described in 1684 by the merchant Toichiya Taemon in " Nageire Kadensho " (the flower arrangement in the nageire style). 1697 followed by " Kodai Shoka Zukan " (Collected Pictures of Historical Shoka Works) and written by Ikenobo Sen'yo. Shoka and nageire are easier to make than a rikka and did not require a special occasion. They could take their place in the tokonoma at any time.
During the first decades of the Meiji period (1868–1912), traditional art and culture stagnated. Japan was in a profound process of change and had to learn to harmonize its own traditions with Western influences. As in many other areas, this also happened quickly in the field of ikebana. Ohara Unshin (1861–1916) opened the first Ikebana exhibition in 1897, on which works in the new style of Moribana (盛 り 花, English piled flowers) were shown. At the same time as the Moribana, the Kenzan (flower hedgehog) (剣 山, dt. Schwerterberg ), which consists of brass needles that are cast into a lead plate, was introduced, which allows the plants to be arranged in a technically very simple manner. The plants can simply be plugged into the Kenzan (hence the incorrect description of the Ikebana as "flower sticks"). The Moribana style was the revolution for ikebana. It was symbolic of freedom, cosmopolitanism and peace, but it was also the form that made the Ikebana accessible to the broadest sections of the population. To this day it is the most popular form of ikebana.
Design forms
Ikebana, Moribana style
Ikebana, free style
Ikebana, Moribana style
Ikebana exhibition in the Kyoto subway
The rikka : It developed from the tatehana, a form of arranging the Buddhist flower offering, which was cultivated from the 15th century. Until around 1700 it was made up of seven main lines, since around 1800 it has consisted of nine main lines, each supported by further secondary lines. It represents an idealized landscape, for which extensive rules have been developed. These relate to the character of the lines, length, material combinations, insertion points in the Kenzan or Komiwara (bundle of straw), position and angle of departure from the center, etc. and can only be mastered through regular practice over several years. Rikka are intended for ceremonial occasions and exhibitions. They are usually very large and their construction requires the highest technical, formal and artistic skills. Rikka is practiced by a few smaller Ikebana schools and especially by the Ikenobo School, in which the latest form, the Rikka shimputai, was developed (introduced in 1999).
The Chabana : Is a delicate arrangement for the tea ceremony, which is supposed to bring nature to the guest. The Chabana has two lines, one facing the guest and the other facing the host. It has a simple, natural arrangement, is usually arranged with a branch and a flower material, but can also be made of one material. Ideally, the color of the guest's kimono should also be taken into account, which is why the host may inquire about it in advance.
The Shoka : Developed as a simplified form from the Rikka, it consists of the three main lines Shin, Soe and Tai with a few auxiliary lines. The arrangement has a common foot, all lines must be put directly one behind the other in the Kenzan or Kubari (fixation with pieces of twig), from where they fan out according to certain rules. A distinction is made between classic and modern Shoka. With a few exceptions, a classic Shoka is made with only one, at most two materials. The material must originally come from Japan, only classic vessels are allowed and the flowers must be held using old technology. A modern Shoka allows three materials, any material, any suitable vessel and the Kenzan as a fastening technique.
The Nageire : Originated from the Chabana. Is worked in a vase and has the three main lines Shin, Soe and Tai. The plant material is fixed in the vase with Kubari (flower holder made of twig pieces) in such a way that the lines rise freely above the water surface. Shin and Soe must never touch the edge of the vase. The tips of the three main lines should form an uneven triangle. Twigs for shin and soe and flowers for tai have proven themselves as materials, although other floral materials can be added. As sub-forms one differentiates between the hanging form ("suitai": tip of the shin reaches under the vase rim), the inclined form ("shatei": shin forms an angle of up to 60 degrees to the vase rim) and the upright form ("chokutai" : Shin forms an angle of more than 60 degrees to the edge of the vase).
The Moribana : Arose from the landscape arrangement of the Ohara School. If you work in flat bowls, the Kenzan is used to fix the plants in the bowl. Any plant material is allowed. Like the nageire, it has the lines Shin, Soe and Tai and, like the nageire, can be worked in the forms chokutai (upright), shatei (inclined) or suitai (hanging). Special forms of the Moribana are the Shimentai and the Morimono . The Shimentei is the only Ikebana shape that is worked through in all directions and can be viewed from all sides. It was originally developed in the Ohara School, later also in the Sogetsu School. The morimono is an arrangement of the Ohara school in shallow bowls or baskets. One element is harvested fruits or vegetables and it is intended as a table arrangement.
The Jiyuka : Completely freely designable arrangement on a certain topic, in which flowers and plants can of course, but also be used in greatly different ways. Deadwood and non-floral material can be used and all types of fastening are allowed. Of particular importance for a Jiyuka are the color and shape of the vessel, which should be included in the arrangement. As a formal guideline, the only thing to note is that the arrangement has color, size and line.
The Shoka shimputai : Introduced in 1977 by Sen'ei Ikenobo. It is a modern, free paraphrase of Shoka, which is arranged very sparingly and from three materials. Even here the feet are directly behind one another, but further Shoka rules are softened in favor of a subjective harmony. (For example, woody material can stand in front of herbaceous material if the overall impression is consistent.) The main lines are designated as Shu, Yo and Ashirai, with Shu and Yo being in opposition to each other and Ashirai contributing the missing aspect.
The Rikka shimputai : Introduced in 1999 by Sen'ei Ikenobo to “create harmony in beauty for contemporary living environments”. It is a modern variant of the Rikka, although other proportions, material combinations and vessels are permitted. It is arranged with the knowledge of the traditional rikka, but these - like the shoka rules in shoka shimputai - are softened and paraphrased. The insertion points in the Kenzan form a bundle like in the Rikka, but all outlets are at about the same height. There are no specifications with regard to other construction principles such as the direction or length of the lines, plant material or color combinations. A rikka shimputai should always leave the impression of clarity and uniqueness.
Ikebana schools
There are numerous schools of Ikebana. In Japan the most important are the Ikenobo and Ohara schools, which still attach great importance to tradition and in which formal design rules as well as technical and manual skills still form the basis of any freer design. In the West, the Sogetsu School is particularly popular, as its rules and design rules allow beginners greater freedom of design.
Ikebana artist
literature
- Gusty L. Herrigel: Zen in the Art of the Flower Path. OW Barth Verlag, Bern u. a. 2000, ISBN 3-502-67014-5 .
- Hiroshi Ohchi: Ikebana - The Art of Flower Arrangement in Japan. St. Gallen, 1961
- Shozo Sato: The Art of Arranging Flowers - A Complete Guide to Japanese Ikebana. New York, undated
- Yuchiku Fujiwara: Rikka - Classic form of Japanese floral art. Ulmer, Stuttgart 1985, ISBN 3-8001-6120-6 .
Web links
- Ikenobo homepage
- Sogetsu homepage
- Sangetsu Homepage (English)
- Ikebana Federation of Germany
- Sogetsu in Switzerland
- Ikebana International in Switzerland
- Article on the symbolism of Ikebana , pdf (289 kB)
- Ikebana teaching
Individual evidence
- ↑ Ikenobo ( Memento of the original from August 11, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
