Floral Art of Japan

FLORAL ART

JAPAN.

FLORAL ART OF JAPAN: A SECOND AND REVISED EDITION

THE FLOWERS OF JAPAN ART OF FLORAL

ARRANGEMENT.

JOSIAH CONDER,

F.R.I.B.A.,

WITH ILLUSTRATIONS BY JAPANESE

ARTISTS.

Z09

PREFACE.

publishing the original edition of this work, the

In

the Japanese

method of decorating with flowers

He

Western homes.

assured that the

felt

outcome

noticing

could

[ow.

tlesign<

by

architect

buildings.

was

it

wi-

Working

with

stone,

,i,

m

^

is

the

timber,

brick,

freshest

tion of their natural

passion

and

loveliest

art

.uir

this

for floriculture

and

natural

that

li-d

and

.u-b-,

to follow the

—an

metal,

There

are

all

the present writer.

the tendt^nty uf the age

to

indications that

down by

true pi-inci|jles laid

paint,

or

Why

employment?

their

method

we aim

plaster,

and ornamentation.

we

should

other things?

rule in

at

expressing

Yet when our

are content to

rich

to

which

bloom,

they

we have

art of designing with plant

belong. in

use

mode

the

With

it

all

in

a

our

Europe never possessed

and

tree cuttings

jn such a

growth.

Mre. C.

floiTil

from a Surrey Garden," has expressed her admir-

of arranging flowers for embellishing rooms, and has

examples showing how such a methoil may hn applied

many

to

Cut flowers, as we arrange them, retain no sugges-

" Pot-pourri

appreciation of the Japanese

given several

A

expounded

known

cuttings are an to be used in adorning a

If floral

that the earth yields

masses of

for

work

not

East.

theories

art

as to conventionally copy Nature in her disposal and treatment of Earle. in her charming

Kuropean

and

laws,

Far

the

universally

r.ict

industrial

principles

growth or of the landscape

a Floral Art, properly so-called,

ing

i>r

the

\vere

disorderly confusion, whilst order and

disorderly and expressionless manner.

W.

tint

\

true qualities of the material, both in construction

material

way

d

il,<

inn

d

..hers.

l-

^iniil.ir

,i|i|,l\

i

from

dcv

,

n.

flowers alone be used in

the

appr

the

to

and Li.ninni.M,

of

fancy

>

decoration.

false

u-d

study

lU'.nA

originalit)

just

profession,

room, why should

edition

first

or

furn

nd odier

Kuskii

the

close

apricious

ii

of

novelty

in

Floral Art. though

this

ould, nevertheless, appeal to

principles

art

th.it

adapted to adorn our

found

governing

rules

their appHcatioi

:

Author expressed a hope

be

might

;esllietic

study

of

this

I'loral

Art

is

to

English

flowers.

growing abroad, and

tlial

it

will

influence

to

coiitinui;

our

use

of cuttings

for

chanibur

ever be adopted complete, with the land of

ntfioiiak which lines

the quaint traditions and subtle ethics that surround is

desirable in order to

The will it

in

show the

the Art in the hands of this cultured people, and to indicate

evolved

the

upon which a suitable European adaptation may be based.

The above

considerations Lncouratjc

edition of his original work.

introduced,

as

well

one of the best

some

all

but an explanation of these details

origin,

its

decorations.

by the Japanese

writer does not suppose that the style of flower arrangemenLs followed

as

living

artists

extent, partly in the

lengthy

title

Art of Japan

of the "

first

body

the Author

in issuing

Additional outline plates and figures

new coloured

prints from designs expressly

of the Popular School. of the work,

and partly

edition has been dispensed

with,

The in

an

a second and revised the text have been

in

made by Ogata Gekko,

text has

been augmented to

appendix.

The somewhat

and the abbreviated one

adopted.

JOSIAH Tokio, May, 1899.

CONDER.

" Floral

—

—

.

CONTENTS.

THE FLOWERS OF Fl-OWEKS

Sl-HISG

JA

:

SvMaiER Flowers:

Chrysinthemums— The Seven

Flowers:

AuTisis-

...

AiHiimn— Maples

Planis of

THE ARRANGEMENT OF FLOWERS. iNTfiClllCTlo.S

Flowfbs

AtcoRniNC

Flowers

MoKTHS

THEIR

10

for

pro))ibiicmboo {Shfchikukii').

nf Pine, Plum, and

Plate L I. -Arrangements of Willow Branches.

Pute

LII.

— Flower

Plate

I^I I

L— Arrangements

Arrangements in suspended Moon-shaped of

Wistaria in

Plate

— Method of arranging LV. — Completed Arrangements

Pl\tf.

LVI— Arrangemcnu

Plate LIV.

of Fir

of Irises

with

Plate

— Paired Arrangerociil of LVIH. — Arrangements of Peony,

Plate

MX.— Double

in

Slanding-vases.

and

Irise>.

Irises,

and

singly,

Weeping Cherry

ol

and of Peonies with

Well-bucket Arrangcmenl of Clematis,

and hooked Arrangement nf Cleni

supetr/ms.

—Arrangement

of Chrysanthemums.

LXIII.— .\rrangcments of

i'LATE

LX

v.

— Arrangements

Naw/iiKi ilomeslica

of Fiinii'a

Di\ila

Irisc*.

Irises.

— ArrangcmenU of Leaf Orchid and of Nuphar jitpunkmii. — Arrangements of {^nvolvuli and of Dianlfms

Plaif.

I

with

Asters.

Plate LXf.

Plate LXH.

Crescent-^

Irises.

Plate LVII.

Plate LX,

Vcsigls.

a Bronze Boat, and of Lcspedcza in a

and of

and nf

Kerri-t Jupon-oi.

Narcissus.

Vases.

Flmz LXV.— Arrangements of Peach Blossoms in hooke.l and standing Platk LXVI.— Ikerobo style: Vase Arrangements of Flowers. LXVir.— Ikcnobo stjle Hasket Arrangements of Flowers.

Platk

:

PtATB

LXVIIt— Ikenobo

Pl.vte

LXIX.— Ikenobo

Arrangements of Flowers.

llasin

style:

style

Basin ArrangemenU of Flowers.

:

IIXL'STRATIONS PRINTEP WITH T!IE TEXT.

— Diagram

.

showing

Arrangement of Flmver-lincs.

Veilkiti-lnanslc

— Diagram showing —Long-neckc(i Standing-vase — with Carnation

Arrangement of Flower-lines,

liQiizonM-triaiigle

,

;.

5

Flower-iiili

^.— Well.frame Vase

containing Arrangement Howers,

held

by a

Ckmlvmlro,,

containing

Pine.

t,f

Fan-f.istener,

•^quamalum

(Togiri),

(Susuki).

page

58,

page

59.

FiouRB

S,

page

6c.

Figure

9,

page

61.

Figure

isket

-Hnkf,),- Flo>

—

niaintng Convolvuli.

•

Flower- basket

5'r.S,

Chrysanihet

ilaining

nd Narc — Sock-shaped Hooking Basket containing — Bamboo Vaw with Chrysanthemums. — Hooking Vase embroidered bag, containing Clirj'santliemums. and suspended bronze ornament — Hooked Flower-basket,

10,

page

65,

Figure

ii,

page

6(5.

Figure

ii,

page

67.

Figure

13.

page

68.— Flower-raft holding small Basket containing Cherry Blossoms.

FiGiRE

14,

Figure

15,

page

71.

— Flower-cliariot

Figure

iCi,

page

76.

— Inverted

page

in

iitittiiono,

—

.\

— Inverted

70.

boat shaped Vases with

pair of suspended

Umbrella of Bronze, with Camellia,

and

Plants

and

Rnsh,

FiGtHR

17,

page

78.

— Diagram

18,

page

81.

— Arrangement

Figure

19,

page

showing disposition of Floral Lines

Bamboo

of high

for

85.

Figure 21. page

gi.— Flower-basin

of Flowers wiih

— Plum-brancli

with

—Arrangement of

a

for

a

Basin,

with

for

liainvnano

Creeper.

a

arranging Flowers.

in

front

in

for

of a

Willotv-iii-wiml in

-.\rrangement of Wistaria,

large

Presentation.

picture.

a small

Flower

Basin with

Da

Stones.

-Arrangement of Summer Chrysanthemums. of using

and

lower

three

small

Flowers.

Shelf for Flowers below.

Hooking Vase with

Paper Wrapper

Irises

-Arrangement of

in

in

surrounding Frame

—Utensils and Tools

upper

in

Vases.

of lumps of Charcoal

Incense-burner with

— Arrangement

FicuBF 20, page

-Method

Ivy.

Grasses.

Bronze Bell containing Wistaria and Pine.

Figure

S3,— Table

Autumn

vi.

is

some adjoining chamber,

know

is

is

the

The

largest blossoms

sometimes called the Hower-ofplant-of-twenty-days, because

beauty and freshness for that period of time.

Of

it

the large tree-

peony, called bolan, there are ninety distinct kinds, and of the small plant-peony, having

\^i\M\ui i^\ ^^

il]l.;i'i'*^li}.S'-^....* IRIS BEDS,

NKAR TOKIO,

PEONIES AT YOTSUME, HONJO.

Iffiid'.

^a'ti,1

'^

FLOWER singfc blossoms

and

may be

bclan

called .haknyaku,

.nspectcd at

numerous

Unsanyen. Gochikuyen and Sendaiyen

yen

Honjo

at

Dalkokuya,

;

The slmkuyaiu

Azabu.

is

VIEWING.

Acre arc public

gardens

Komagome

at

,5

said to e.ist

hundred

five

Tokio such as the

in

the Uyebun,

;

Tlie

varieties.

Hanjitsuyen,

Yokayen, and Teigo-

Meguro; Taikoyen, Shiba; and Senkayen and Shokayen in also shown in the Uyebun, Honjo the Yoshinoyen at Komme;

and the Teigoyen at Minami futaba-cho Honjo. white are most valued, purple and yellow specimens, though

hikifune-dori

e.vuberant flower, tion.

ot

with

companions

Its

large curling petals,

its

is

art are the peacock, the

in

walls,

beds

is

they

wllich

in

grown

.are

A

This

golden pheasant, and the simlii. a kind such company

in

show of peonies

represented

and

colours, the red

being less prized.

a favourite subject for design and decora-

conventional lion derived from Chinese designs;

decoration of temple and palace

Among rare,

it

forms the

constant

the screened and sheltered

in

Plate VII, Liken

in

from the garilen of

tlie

Uyehan, \'otsume, Honjo,

The

lotus

the

associated in especially

those

lotuses.

The

summer

lotus

the peony

the

these

in

with

water

Uyeno

the

Buddhist

has a

Benten,

are rendered gay

the

in

The

summer by

fertilizers

grounds,

with

planted

wide moats of the

muddy water

exist,

in

the

in the lakes of the old

It is

regarded as the national

is

therefore considered out of place as

it

is

constantly used for obsequies

theme

for religious

temple groves of Kioto and other

it

is

particularly sensitive,

by which other

amid surrounding

fifth

is

plants

leaves and

its

one reason

well-known book of Buddhist precepts contains

man's hovel,

The

liut

if

This

nourished.

mentioned as

are

flowers

and quickly withers are

brought purity

;

:— "

If

the best displays are to

cities.

Growing out of

always fresh and clean in

contact with any of the

which the lotus maintains

for associating

this text

lotus

flower has a

though more handsome, produces but

powerful

little

scent

it

with a religious

thou be born

and sweet perfume,

There

is

and

contemplation,

in

the

out of the hast wisdom, then art thou like the lotus flower growing

wliitc

As

the lotus flowers in bloom.

therefore the favourite flower of monastic and temple retreats

although

fine

pools and channels of

lotus serves as a suitable

the muddiest and most sUgnant water,

A

The

said to be the national flower of China, so the lotus

is

other sacred ceremonie-s. is

frequently

water plants, wliich impart to them considerable beauty

flower of India, the source and centre of Buddhism,

be seen

therefore,

is,

lakes of temple

are

fine display.

a decoration for occasions of festivity and rejoicing, but

and

and

religion,

The

spirit-land.

goddess

Wherever undisturbed

season.

Yokohama

port of

connected

be found, and even the ditches beside the railway connecting Tokio with the

to

is

to

lake Shinobazii at

Tokio Castle abound the

closely

is

minds of the people with dedicated

but

the

a species called

life.

poor

mud!"

red

kind,

GoU-llmad-

rm FLOU'l-RS OF 7APAA'. with I. be.ng marked red blossoms ,

U,,!.

its

deep crimson colour

may

also

be found.

^^^^^

^^^^^^^^

ilajs. off after five or SIX

^

^"^^

^^^^J.

emerald p es ntmg of deep green and brush. subject for the painters favourite

the lotus. fowl are represented with

^^^^

^^

and a very handsome flower of ^^^^^^ .^ sometimes to be seen

^^^^^

^^^^^ ^^^^^^ ^^^ ^^ ^,.g^t ^^^

""-"--

•"r'r"'Td::*":«--

.eaves of the lotus are

yellow lines; /

^j^^

,„* Oosea^er

fl„„ers. their

lotus ,^,„,ir„, ,ffec. in the In

design

_^^^_^^^^^_ .

.^

midday.

f^,,^

Tbe

broad curlmg surfaces ponds, and forming a ^^^^^^

^^^,

^^^^^

^^^^_,_.

AUTUMN FLOWERS. CHRYSANTHEMUMS.

HE

clirysanthemum

ffloricultural ^^^

the principal flower of Autumn, and the triumph of Japanese

is

Specimens of remarkable variety

skill.

the gardens

i"

P'"0'^'"^^'^

of the

^**' in

most handsome form,

its

of long oval petals, the it

different

tints

partly

of face

loses

extended,

The

beautiful.

aim

florists

at

stem, reaching often

to

kiku

including

numerous,

are

European

seems

It

tlie

many

botanists, but

tliat

the

digenous to Japan, and held purposes

;

in

were yearly sent

at

disc-like

curling

partly

whilst,

mop

in

form and colour of blossom

its

chrysanthemum.

flower of the

character,

and presents a combination

inwards,

most

exhibiting

and

eccentric

contrast

in

artificial

shape,

of tangled thread-like petals, more curious than

producing an extraordinary quantity of blossoms upon one

number of only

not

The

several hundreds.

those

species

the Japanese

varieties of

chrysanthemums by

as

classified

kinds of Pyrethrum. Aster, and other genera.

chrysanthemum,

wild

considerable

in

of small

always been

has

flower,

repute from every early

times for

in-

medicinal

which connection early records state that large quantities of the yellow kind

is

Hakata

the

large cultivated

been imported from Corea or China and

said to have in

The

Court from the Southern provinces.

to the Imperial

flower, however,

Japan

and

and back;

assumes the character of a confused

its

in

The

nobility.

"frti

province of Chikuzen.

At

this

time

five

first

planted in

were known,

colours

described as blue, yellow, red. white, and black, the term black probably referring to a dark Originally these plants were reproduced by

purple colour.

now

the seed

is

employed, which

The chrysanthemum

is

is

means of

;

and

probably owing to the former being used as one of the crests of

Tlie flower has always

and

cuttings, but

sometimes spoken of by foreign authors as the national

flower of Japan, a rank properly belonging to the cherry blossom is

slips

said to give greater variety of blossom.

this

tin;

mis-conception

Imperial

House

been much honoured by the Court, and as early as the time of the

THE FLOWERS OF 7APAN. Emperor

Heizei.

were held

the ninth century, garden parties

in

purpose of celebrating

its

blossoming time; just

santhemum show takes place

Palace

the

In

a

day,

the present

at

as.

the

for

yearly

chry-

These ancient celebrations seem to

in the Imperial grounds.

have partaken of a truly pastoral character, the courtiers wearing the plucked blossoms their

hair,

drinking Avine. and composing verses

modern clirysanthemum displays in

conventionality

the social

brilliant

and sixty

a

recent

display

varieties of

names are so

but the in

long

by any flower-show

rivalled

the

in

;

arranged

Imperial grounds

suggesti\'e

Chi-kin-gi

Terrestrial

Usit-gasumi

Thin Mist— a white

Silver

Globe— a

World—a

the world.

name

of

its

Some

own.

:

large globular yt-llow flower.

flower of pure white colour. flower.

Moon— a white flower. Sun— a flower of dull red colour. Gems— a flower of orange red colour.

Companions of the

Shadows Tama-sudar IlalSH-yitki.

The Screen The

Evening

of the

First

of

—a

Snow

pure white blossom.

Ilana-galam.

The Basket

Kagari-bi

Beacon Light— a red flower.

.

Asa-hi-m-na

Waves Sky

at

in

Flowers— a

of

the

Morning

Dawn— a

rich red flower.

Sun— a

reddish flower.

flower of cherry-blossom

colour

(pate

Garden Fence-a flower the colour of the wistaria

blos-

pink).

som

(lavender colour.)

Dishevelled

Hair

(ii,

in

„,„,„i„jj

,,,,,p,__^

„^,^,^_.

tangled petals.

Hoshi'dsuki-yo

Hoshi-m-hikari Kiini-tio-mcg

mm

Viiki-m-ashita

Tsuki-m-kasa. Ogon-no-nishiki

Starlight

Nigl,t-a white flower.

Stars Brightness-a pale bluish flower. Blessings of

every

forms a

of

form or colour of the flowers that the

of the

not be out of place

will

in

of

variety,

rustic sheds,

Akasaka there were a hundred

at

blossom exhibited, each bearing a fancy

poetically

enumeration of a few of them

numerous open

in

The

own flower-shows

the Palace gardens are more like our

of shape,

and im|>osing scene hardly

At

tliese

in

of their arrangements

colour and profusion

imaginable

upon the beauties of the flowers.

Majesty_a pale pink flower

Snowy Mor„i„g-a flower of pale Moon s Halo-a flower of orange

pearly pink eolour.

red coloiu-

Oolden lirocade-a flower of golden yellow eolour.

^^

PLATE

Mil.

lElSltfe

CHRYSANTHEMUMS AT

SOMEI,

FLOWER

Ogon-nc

rmiVLVC.

THE FLOWERS OF JAPAN.

^^

THE SEVEN PLANTS OF AUTUMN.

I^m;

^

of

laucity

^^fejapancse

pointed

been

and

of the late

plants

the Eularia japonka, the Valeriana villoma, the bcrgiana. and the

year

the

are

As

the in

has already

with a

associated

is

led

lias

insignificant

without a reference

special

these

to

the lespedeza. the morning glory,

:

VaUriana

Perhaps the favourite

carnation.

Autumn,

in

comparatively

not be complete

These seven

Autumn.

plants

plants,

interest in combination.

almost every month of

out,

blossom, and the calendar would therefore flowers

and

simple

certain

of

but gathering importance

^^themselves,

trees

flowering

important

make much

to

the

qfficiiialis.

these

of

the

is

Pucraria thun-

lespedeza,

or bush

clover, of

which there are several kinds, some having pink, some white, and others yellow

flowers.

Growing wild on grassy moors,

wild

boar,

together with

which

specially associated with the

it

or

kinds

are

of convolvuli

famous

and shaped last

associated with wild horses, deer,

various

in

also

to

show

plants

are

in

Autumn

grown together

pots

flowers.

on an Autumn morning. like

is

flowers in

The temple grounds

of lespedeza

trained

and the

The deer

designs.

also with other

the

of the

Displays

of

over skeleton framework

be seen at the various gardener's nurseries at

one of the suburbs of Tokio, by those enthusiastic enough to reach the spot

six o'clock

they

their

for

or morning glories,

representing rusuc structures, are Iriya.

is

depicted

and represented

Garden-of-a-hundred-flowers. at Mukojima.

Hagi-dera, near Kameido, various

time,

The seven Autumn

and with the reddening maple. Hiak-hua-ycii,

it

often

is

Autumn

Fancy

flowers, less than half

a butterfly orchid, and other strange varieties,

an inch

may be

before

in size, in clusters,

seen.

Within the

year or two the culture of convolvuli or morning glories has become very popular, and

may be observed

before

many

dwellings in the city on quaintly designed frames.

Plate IX. illustrates the seven plants of

Mukojima.

Autumn

as

grown

in

the Hiak-kuia-ycn at

AUTUMN FLOWERS, AT THE HIAKKA

YEN. MUKOJIMA.

FLOU'IiR IVEir/XG.

^*^^^^^

?/^V ^(^^ mention ^JS^

o^'''^'"

'"*'

^^

^°^^'

*''^

of the maple,

—

blossomless trees,

festivals

for the

of the

changing leaves of certain deciduous

of blossoming

Autumn

shrubs such as the

The

montlis.

there are

itself,

of their

many

No

beside

garden

some

the object of bringing into

Arashi-yama, noted

is

commonly

hills

display of scarlet maple foliage in the

by the form of

diere

are planted

for

called Tatsuta, in the province of

banks of the

river,

and are

Toliio, the slopes of trees,

known

attract

strictly

the maple

and the tone group of such

its

their

with

in valleys,

tints

slopes above

which

in

the

river

the

Oi

show of cherry blossoms, present a

at

fine

Autumn.

Yamato,

full

of the

trees, is

noted

renowned

for

their

for its fine

hills

whole size.

plain of

A

spot

specimens, which line the

glory about the end of October.

a natural glen between the

the

enormous

At

Oji,

a suburb of

are planted with thick masses of these

forming a most romantic spot, where, from the galleries of a rustic arbour, die sight

of the foliage in well

in

is,

Of

their leaves

wittiout

on grassy slopes and

The grand

abounds.

some magnificent maple

are

many

of

tints

towards the West, to receive additional

hill

At Ko-no-dai, a famous prominence commanding a view of Tokio,

rich

translated maple,

considered complete

is

Spring time

the

in

The

Japan.

distinguishable from the colouring

one limited prospect the red and golden

wooded

scenery of the

in

Japan ckniancU some

trees which redden in the Fall.

artificial

They

splendour from the setting sun.

natural

many

varieties, distinguished botli

trees, placed

in

like tlie foliage

form a favourite object of attraction during the

azalia,

applied to

changing colour.

reddening

observed

as

hardly

trees,

native term momiji. which

name

speaking, a general

yc:ir

reddening leaf of the maple,

regarded as a flower

is

many

all

spots in

its

may be

burning splendour

the

vicinity

of the capital,

Picnicking and

sight-seers.

enjoyed.

Shinagawa and Meguro, other

have also good groups of maples which

mushroom gathering

are pastimes which accom-

pany the viewing of the maple.

In the

poems and

pictures

"How

full

of the country the maple

of sorrow seems

llic

In solilary rambles slowly straying,

Amid

llic

russet (oliage of the glcn,

I listen to tlie

is

Autumn! when,

lonely slog's sad baying,"

associated with deer.

THE FLOU-ERS OF JAPAX.

22

Tlie famous Plate

X.

prosjjL-cl

In of

tlie

the

view of maples distance

may

be

in tlic

seen

scarlet folia^'c. whilst in the

ylen called Taki-no-f,'ana

at

Oji

is

given

in

the rustic sheds from which visitors enjoy the

foreground

verses attached to the lower branches of the trees.

is

shown a

girl

reading

some

of the

MAPLES AT

OJI.

ARRANGEMENT OE

FLO\\TRS.

INTRODUCTION. WFmiTH

the Japanese, the arrangement of cut

flowers in vessels of various kinds has a decorative art of considerable refinement, compared to whicli Western

^^'MW become

•^^^

methods of

floral

The

tions.

composition have the appearance merely of haphazard combina-

bouquet, wreath, and garland,

depending

all

for their

beauty upon the

close massing of blossoms and greenery in soft and luxurious confusion, bear no resemblance

whatever

more austere and open compositions of

to the

a different phase of

to

The

art.

that

fact

many

the Japanese which belong entirely

of the most charming

country are those of trees, the blossom-clad twigs of which in

closed and rounded masses,

to floral designs

;

the

may

grasses which would lend themselves

The reason

for

Is,

far

as the Western amateur

The rugged

more

devotes his attention to

all

the art under

is

consideration

floral growth ; and.

open character and

easily to the

in

principally

European method of grouping. flower arrangements

and the

witli

straight, stiff shoots, or the graceful

its

him inseparably associated with any

The

distribution

lines of

of buds

branch and stem, the form

and blossoms,

based upon a representation, more or this reason,

the

compositions are

It

receive an

all

may be

less

made

said

that

conventional, of to

assume an

which the forms of branches, stems, leaves, and flowers are

individually expressed.

may

Where-

floral nature.

play their allotted parts in designs.

for

arrange

mainly to the blossoms, the Japanese lover

cherry, are to

beauty which the blossoms themselves possess. different surfaces of leaves,

to

explain the open lineal character given

every striking feature of the plant or tree producing

nature of the plum trunk,

sweep of the branches of the weeping

equal share of attention and

flowers of the

difiicult

however, equally applied to flowering plants and

manner of observing and enjoying

of flowers extends his admiration

and

would be

the peculiarity of treatment noticeable in these

rather be sought in the Japanese

them.

some manner

in

same treatment

it

all

clearly

ARRANGEMENT OF FLOWERS.

24

of floral arrangevernacular term liam. translatable as fltmvr. has, in the art

The ment, a

Among

English equivalent.

signification than its nearest

much wider

the so-called

flowerless shrubs Jlomcys of the seasons arc included certain evergreens and other

some of these holding very high occupy a very important place its

reddening leaves

are. with

very

seasonableness

of material,

one of the principal points kept

is

fe%v e.\ceptions. rejected for

Japanese

floral

a manner intended to e.\press the particular period of the

any other month, would ap|5ear to the clothing

worn

cultivation of tlie floral art all

trees

flag or

;

and, in the case of those

of the varj'ing characteristics of the for

iris,

example, which

Autumn, has a peculiar bend and Its

flower stems,

ke])t in

is

common

vitality in

to its

this flower is

same

naturally

follows

that

a

used

proper

common

different

its

of

to several months, a close

plant during different seasons.

The

months of Spring, Summer, and

and a

leaves,

during the v.vious periods of

view when

being

designs

April blossoms,

year.

demands a thorough acquaintance with the nature and growth

and plants employed

observation

therefore

It

such

proper season

as incongruous and out of place as

flower-artist

summer-time.

in

after their

compositions,

in

in

diametrically opposed to the

is

Flowers blooming before or

under consideration.

in

winter

trees,

what are called /on«- arrangemcnis : also the maple with

laxurious taste for choiceness, as implying rarity,

rules of the art

and

pine and bamboo, for e.xample, both

The

rank.

used as one of the principal fimocrs of Autumn.

is

choice

In the

The

view.

in

floral

growth

diflireiit

length and vigour in

and these

;

distinctions arc

all

cmj)]oyed in compositions.

The natural localit)' of production of trees and plants whether lake or river bank, mountain, or moor; greatly influences the character of the design employed. To arrange a water plant ,n the same manner and with the same surroundings as a land plant would be considered a great violation of the rules of appropriateness. Not only are blossombearing trees and flowering plant, treated as perfecUy distinct in character, but minor divisions as to locality of production are often observed in both. Among ;

distinction ,s

celt Is«

made between ordinary

™°"*' '"''

The compositions plants,

'"''

i.

^°'"'

forest

'""•

plants,

a

mountain plants and water

'"''""""" '^'^^ ="= distinguished in

""''

necessity ,s

however

for a proper familiarity with the nature of all flowers used one reason strongly urged against the employment of rare or beautiful they may be The „>,. „f -ii a ,

botanist, as well as rare foreig^

-.

plants

land plants,

"""

in

Me kin

floL^

.ohibited, unless the artist has

the

1

previously

o

made

„

t^,

"^Z tr""''"

"'

'l

::e;;rtir:;i:d:::^

INTRODUCTION. the

natural

expressed

characteristics tlie

it,

artist

character, habits, virtues,

he seeks

his

material,

of such

25

As om: exponent

flowers.

and weaknesses of the members of till

he possesses almost the same

feeling

and tenderness

love

the

for

kingdom from which

floral

tlic

has

of the art

must be tlioroughly imbued widi a sympathetic

quaintly

their

for

qualities as for those of living beings.

Preliminary

to

a

study

of Japanese

Art

Floral

acquaintance with the principal flowers employed.

it

is

necessary

of such a classification

remembered

many

that according

common

flowers to

the

old

to several

therefore rendered

it

The

commencement of

calendar the

adoption in

impossible to conform at

late

the

observed, are pushed back one month or more their

celebration

are often

premature or forced

specimens.

The

for

calendar, existing

when

the whole

day to

It

all

in

time,

unavailable,

the

following

and the flowers or

recourse

classification

is

has

must be month.

first

about thirty days

Gregorian

calendar has laid

loiles

Such uf the old fete-days as

for the selection of flowers for special occasions.

appropriate

present

the

— was

years of the

die

in

In consequence

months are repeated.

which was at the same time the beginning of die Japanese Spring, later tlian the first of January.

have some

to

These flowers are enumerated

following pages under the heads of the different months to which they belong.

originally to

be

according

theory of the art in question was established.

to

down

ai-e

now

fi.\ed

made the

as to

old

FLOWERS ACCORDING TO THEIR MONTHS (OLD CALENDAR).

les in

r

Ihe following

lisi

of (low

I

distinguishing signs arc placed :

termed Lwing Flowers, being particularly characlcrisl

which

planls

el's

are

much

prized for felicitous

t

Early Flowirmgs.—HowsTs which are in advance of their pr^^pcr season t Distinguishes the These have also their appropriate use in floral coinposi lions. under which they arc placed.

J Indicates what are

namcj have months.

reference lo

The

Viilgar Flotvcrs,

use

called

flowers

applied

lo

wild

P.med

which are

of such flowers

is

plants,

the art.

The

use of cereals

FIRST

is

and

for

ihose

this

head

also to

termed

§ star

or passed in

late

or to

and the cmploymenl of flowers included under professors of

Flotvers.

forbidden

most

i

r

These

Flowers.

belonging properly lo earlier

,

There

cerei

exists

also

the

term

which possess no fancy name

of very cc is

Dead

the

in

not permitted except in the hands of ihe n

be avoided.

MONTH (PRESENT FEBRUARY).

Chimonanthus

tra grans

experienced

FLOWERS .4CC0RDIXG TO THEIR MONTHS. SECOND MONTH (PRESENT MARCH).

tSuivo

Crraalinnii s

THIRD MONTH (PRESENT

APRIL).

JAPANESE Name,

hotanic

ARRANGEMENT OF FLOWERS.

fKodcmn

KifiI

FOURTfl

MONTH

(PRF.qENT MAY).

•Hanku',

Cypnpctl.ununacanthnim

FLOIVERS ACCORDING TO THEIR MOiXTHS.

FIFTH

ITcacn

MONTH

(PRF^F.NT JUNE).

MRAmEMmr of flou-ers.

llypcrrcuni crecli

Alijmn pbuilago

SEVENTH MONTH (PRESENT AUGUST).

JKolione

trugan

FLOWERS ACCORDim TO THEIR

KIGIITU

MONTH

(PRliSKNT SErTKMBER).

tSu.uki

lOmtoyclu

tK,,™,,

tUkon •Torikabulo

MO.\i

ARRAKGEMENT OF FLOWERS. OCTOBER). NINTH MONTH (PRESENT

JOn.i

TtNTIl JAIANESE NAJIE.

iTsmvabuii

LoiANICAI. NaJIL

Scotcio

Umpfc

MONTH (PRESENT NOVEMBER),

FLOIVERS ACCORD/A-G TO THFJR MONTHS. ELEVENTH MONTH (PRESENT DECEMBER),

TWELFTH MONTH (PRESENT

JANUARY).

Considerations of good or evil luck enter largely into ally

when employed

plants

and

trees

as decorations for occasions of rejoicing

reputed to possess poisonous properties

blossoms, which are objected to at

The

following

is

a

any time, list

their

;

tlie

choice of flowers, especi-

and there are in

tlieJr roots,

certain flowering

stems, leaves, or

employment being considered unlucky

of the principal of such poisonous flowers

:

OMINOUS FLOWERS. toTANicAL Namb.

Note.

Jai-anke Name.

Botanical Name.

Note.

FLOU'ERS. ARJ^AA'GESfENT OF the last lamed, In addition to guests. unsuitable for placing before

all

poMcrfi.l odour are considered Howcrs l«^mR a

i

A.ong

nronths previously classified some are to the difl-erent the flowers peculiar days .h.ist others, though allowed

upon f.te for displaying considered specfally appropriate important occasions. interdicted for such at ordinary times, are

As most

of

and the corresponding name popular

equivalent

and

four .species

of plants

number of

in It

e.v!sts.

together, the

to be

flowers are

tl,ese

already given, the following classification

trees,

specially

is

English,

may or,

be i(

found

enumerated

abbreviated, merely botanical

observed different

in

the

that

species

this

complete tables

grvmg the Japanese names

names being prmted hst

of the

where

only

includes

in

all

same gam-a

honoured flowers becomes reduced to fifteen

be

:—

FLOWERS SUITABLE FOR FELICITOUS OCCASIONS.

FIRST

MONTH (PRESENT

ri-BRMRV).

FOURTH MONTH (PRESENT M.W).

SKCOND MONTH (PRESDXT

M.VRCH).

FIFTH

THIRD «IONTH

(PRESENI- Al'UH.).

MONTH (PRESENT

JUNIC).

no

twentyclassed

^^OlFEJ^S ^CCUJ^n/^VG TO THEIR MOA'TNS. SIXTH

MONTH

(PRESENT JULY).

TENTH MONTH

(PRI^SENT NOVEMBER).

SEVENTH MONTH (PRESENT AUGUST), ELEVENTH MONTH (PRESENT DECEMBER).

EIGHTH MONTH (PRESENT SEPTEMBER).

TWELVTH MONTH (TRESENT

NIN'J'II

MONTH (PRESENT UCIOBEK)

TJie following nf

list

of (lowers,

ceremony or congratulation,

belong. to for

any their

J.\NU.\RV),

The employment particular

rejection

is

the

use of which

is

prohibited for special

arranged without regard to the montlis

of such flowers

deprecated at any season, without reference

is

month, unless no other flowers can possibly be obtained. are

not always very clearly defined

form, sometimes to the colour,

occasionally to

i

which they

to

;

The

sometimes the objection

some supposed poisonous

property,

is

reasons to the

and often

what seems

little

more than

traditional

these objections ,..f„rc. to f.nd

;rs

Ranking highest considered as

Tlie ;

par

The

1

It

or caprice.

by certain masters

in

the above

list

of felicitous flowers,

Kiku, or Chrys.int]icmuin,

Suisen. or Narcissus,

name given

not surprising,

the following

excelUncs tliose for ceremonies and congratulatory

of the following year.

is :

felicitous occasions. prohibited for

Uug-laslin^ Plant, on account of

S^XfS, a

supers'^'

d,sregardecl

its

calletl

lo

which

is

given the fancy

growing through

all

(

name

the four

Chojii-s

:

by the fancy name of Inyo-so, or Plant of

to this linwer because

in

the

Winter and

lasts

till

llie

Twi

the Spr

FLOWERS ACCORDING TO THEIR MONTHS. The

J/„„,>V,

because there

,s

Maple,

rancifuUy

a popular superstition that

The Sakura.

The

or

it

absorbs

all

The peony

named FM-s.ua, meaning PUnt

said to be the

is

queen of flowers

in

or Rhodea japonica, much honoured because, remains strong and green throughout the year.

The

Though much honoured and used

imer.

be

employed

weddings on account of

at

unafii-ctcd

for its

it

purple

I-Iitherto attention

its

li,as

the country, and to the degree

occasions,

hue,

of two

ment are

purple colour, like the wistaria,

is

more

or is

Two

tlic

this

the

explained

prejudices

mention

in

in

the

it

is

must

being associated with

also

takes

prohibited for wedding

principal flowering plants

Many

of growth.

when

favour

Seasons.

wisteria

they are individually regarded, especi-

kinds

different

by heat or

of esteem in which

floral

The manner

But, apart from the

in

which different species are

manner of grouping them, there

of and against different combinations

present conte-xt.

and unsuitable combinations of flowers

and trees of

compositions consist of combinations

whole theory of the Japanese methods of arrange-

the

discussed in a later chapter.

certain

require

best

Wealth

been directed to the

with reference to particular months.

combined

of

belongs both to Spring and

felicitous

In addition to the above seven flowers, the Kakitsitbata (Iris lievigata)

high rank, but on account of

ally

air.

China,

Fuji, or Wisteria, fancifully called Niki-io. meaning Plant of

appearing between the third and fourth months,

beca

Plan,.

poisou and infection from the

The Omolo. cold, its leal

„

or n,s.n-J,sf,m.,g

or Cherry, regarded in Japan as the kinj; of flowers.

Bolan. or Tree Peony, fancifully

and High Rank.

M,^,.s,

called

The

following

is

;

ArPROPRIATF. COHIiIN;\TIONS,

a

list

of material

which

of a few of the suitable

MiRANGEMESr OF FLOWERS. I,

A,«!:.o

(Momtat

glory)

OBJECTIOSABLF, COMBINATIONS.

» ,

All

are

in

\vithout

above combinations, both good and bad. are of trees or plants which

of the

bloom during violating

(ICJtl,)

(Po.locin» ni«

tlie

same

montli.

They

are, therefore,

the rules as to seasonableness.

combinations which are practicable

Those which are

classified as objection-

able are so considered, therefore, for reasons odier than that of seasonableness.

the objection

is

based upon too close a resemblance

in

form

or

colour

;

in

Sometimes other cases,

simihrity of species, or of locality of production, leading to redundancy of expression in the composition, is the deterring cause. The peach and the cherry, for

flowering trees and nation.

somewhat

similar

in

character,

are

example, being both

not considered suitable

in

combi-

HISTORY AND THEORY.

eM>lanation of tliu Floral Art, may be- of ^IM^^^^'^^ P''^'^''^''""^ ^"'^^^' ""'^^ i^Jsomc interest to enquire into the origin of a cult so curiously unlike, in its methods. a^M,any other hitherto followed in Europe. Japanese historians claim for an Indian and *''"

it

it

The

religious origin.

of animal in

doctrines of Buddha, deprecating as they did the

are said to have suggested the gathering of flowers

life,

a tropical climate, and prolonging their

a theory

the Buddhist

—and

spirits,

Sakya Muni, as

well

is

Japan.

It

faith,

art

was its

a pious pastime

known, reached Japan mentioned as the

tlirnLi-Ji

lusi

t<

first

wanton

sacrifice

liable to rapid destruction

careful preservation.

both as a part of

also to provide

certain Chinese priests are

priests,

by

would seem to show that some form of the

with the adoption of the Buddhist

in

vitality

The

survival of such

introduced into this country

ritual— flowers being placed before

The

for the priests.

China

iJi- is

..f

in

the sixth

religion of

and

centiiry,

the art of arranging

flowers

also appears that the eariiest nali\'- pr.ntiiiMnri-i in this country were famous

amongst

whom

Shotoku

Taishi. son of the

Emperor \'omei. and

Mi-iUci Shnnin. are

particularly mentioned.

These primitive flower compositions were, however, of a more the

same

time, of a

more extravagant character than those of the

They partook more

wards modified and developed. noiegay, being crowded the

severe

conventionality

survives under the

name

of

methods.

later

The

in substance

style

accidental, and. at

as

of the nature of a

arrangement and miscellaneous

in

art

it

became

after-

Western bunch or ;

they also lacked

adopted

of composition

of Rikhca, meaning Erect Flower Arrangement, and

is

still

used

for

flowers placed as religious ornaments or offerings before shrines and tombs and as a votive

decoration at marriage ceremonies. the

An

approach to symmetry was a governing feature

employed, to form a disposed

vertical

on either side .'es

to the

in

central

balancing

different

lines

mass

in

Branches of blossoming trees or foliage were

most elaborate of such compositions. ;

and other flowers or bundles of

groups.

The

idea

of the composition

foliage

of imparting graceful and

was as yet only

partially

were har-

devc-

H/STORY AND THEORY. 40 arrangemenls, „,„„ refined flower

.

were

various

luu

in

.^^^^

u

leai

^^^

^^^^^^^

their

hide

much

as

disposal of the hollows

art,

the

fixed

by

of the

was

A

which the

proportion

rule, a practice

Even

The

floral

present day

in

lines

^.„

r

of dilTerent,

was

^^^^ of

a

growth,

^^^^

^^^ .

^.^^^^

>

.^

1

was given to the bends

and back surfaces

in

a

well balanced

or openings in a floral design received valley,"

"grotto,"

and

landscape

comparatively ancient development

this

composition held to the vessel which contained

style,

use

in all later

arrangements,

which approached to a kind of thick stubs

of miniature

and branches of trees and

and suggesting landscape, which to the Japanese

composition,

floral

Rikhaa

the ornamental

intention of pourtraying

every class of

chief

broad shallow vessels with an admixture of small rocks and stones.

in

kind of arrangement,

floral

in

which was followed

special branch of the

gardening, was applied to

water plants arranged

style

were applied to these openings, the fancy that a natural

distance,"

was represented being always kept up.

it

.

Terms such as,— "

lines.

principal

the

as

attention

perspecuve

^^^^^^^^^^

attention

careful

and

bareness,

to reveal their front f these leaves so as

The shape and

contrast.

early

r were used at the base or connection of these ,

leaves to

piants niants

„r other ntlier of

I

Large

branches

of branches

were formed

number

The

„„e design. '

,.„ '"

employed

be.ng

generally seve

some of which character.

"'^.'^"'^

trees

and

plants p

of 01

snecics species

composition,

this

^^^^^,^^^ ^^ ^^^^^_ ^^ ^^^^,^_^ ^^

the mtxture

for

remarkable

and

later

the

Unlike

loped

in

is,

in this particular style,

is

present

patent to every observer.

somewhat degenerate form, may be

a

frequently

seen

in

This at

the

decorations for large public rooms, old lichen-covered branches of pine,

plum, or maple trees being the favourite material.

The

RM'.M

applied to the diflirent the

Rikkva

style

possessed

numerous

members of a composition.

style of flower arrangement.

the principal object of this

work

to

The

rules

Plates later

and

an

XI. to

elaborate

XXI.

and more popular

nomenclature

inclusive styles,

iUustrate

which

expound, adopted, to some extent, similar terms

it

is

and

theories in a simplified form.

The more modem development fancy

for

ornamental vases of various

of the Flor.il

kinds,

Art was simultaneous with a great

which sprang up under

the

patronage

of

the famous Regent Yoshimasa, at Higashi-yama, The impetus given ,0 the manufacture of choice vessels by this Prince, chiefly owing to his inauguration of the Tea Ceremonies and other polite accomplishments, was accompanied by an austere refinement in the methods of arranging fl„ „ ,„, ^^.„,^ ^^.^ ,^^ ^^^^^ of adaptation ,0 the Tea Ceremonial that the first modifications in the Flower Art took place, and the chief reformers were the

DIAGRAH OF KlKKtVA LINK

PLATE

STRAIGHT

R!h-ICWA

XII.

ARRANGEMENT, SHIN STYLE.

STRAIGHT ItlKKWA ARRANGEMENT. GIO

STYI.K.

I'f-ATE

XIV.

STRAIGHT EIKKWA ARRANGEMENT, SO STYLE.

BENT

RIlCKiV.l

ARRANGIiJIENr.

SUiy

STVLi;.

PI-ATH

HKKWA

XVI.

ARRANGEMENT, G/0 STVI.K

BENT RIKKWA

ARRANGEMENT, SO STYLE.

PLATE XX.

FIKKn-A COMBINED ^TUMP ARRANGEMENT FUK SHELVES,

PI-ATi;

XXI.

"^^

^ AVA'A'IF'.I

DIAGRAM OF KURO

HISTORY AND THEORY. a,nj,„. or Professors of Tea.

Sen no

4,

Rikiu, Senke, Sekishiu, and

Enshin.

who were fonr

of the principal flower designers of the Ashikaga and subsequent periods, were at the same time famous professors of the Tea Ceremonial. But the affected simplicity which ruled the Tea Room did not give full scope for the exercise of great elaboration in flower compositions, and other less austere forms of arrangement were developed, suited to the larger chambers of the nobility, but based upon the principles which had thus been inaugurated. distinctive character and special proportion are given to flower compositions, as thus finally classified, according to the particular class ol clamber which they adorn or the rank of the person in whose residence they are used.

A

The arranging befitting learned

of flowers

men and

lilcrali.

has always been

and though the

regarded

as an occupation

Japan

in

ladies of the aristocracy

have practised

it,

together with other polite

Among

arts, it is by no means considered as an effeminate accomplishment. most enthusiastic followers appear the names of noted priests, philosophers, and

its

even famous statesmen who have

retired from public

Mixed up with the theory quaintness and mystery,

art,

Ideas of good and

and the manner of arranging flowers art.

who

A

the

religious

excellencies

Philosophical

spirit,

said to

evil

styles

and

to

Wood

the

Thus

in

society

and

to

which they

for

of

many

way

not

by

Mankind

are

to designate the

birth

some

tlic

names employed Earth.

members

Fire.

diflerent in

some

Water, Metal,

of a five-lined design.

a similar manner, the names of abstract ideas, such as the

orders of Japanese versification, or the virtues of the

human

of

arrangement of flowers.

purpose of distinguishing

the

Earth. Heaven, and

are

forgetfulness of cares, are

practice of the art of

habitual

the same

in

in

air

Various virtues are attributed to

parts of a tri-lineal flower arrangement;

being used

Other Schools apply,

the

are resorted to

classifications

indicate

an

luck control both the selection of material

for special occasions.

self denial, gentleness,

follow

parts of floral designs.

at first sight

it

are considered as belonging to a sort of aristocracy of talent,

enjoying privileges of rank and precedence entitled.

life.

and imparting to

a considerable amount of Chinese philosophy, together with

is

traditional superstitions.

the professors of the

of the

heart.

The

different

five

methods

adopted by the rival Schools of nomenclature are numerous, and would appear to have been originality and mystery to their principally with the object of imparting an appearance of

own

particular versions of

what

Again, the male and are It

constantly applied

to

is

practically

one and the s.ame

art.

philosophy female principles so often referred to in Confucian

distinguish

contrasting forms,

surfaces, or colours in composition.

inanimate to apply distinctions of sex to has ever been a favourite fancy of the Japanese

ARRAKGEMENT OF ELOJfERS.

^,

cus.on,ary to discriminate between and landscapcKardening, k is m„le and foW,- rocks and f.,„ak plants and trees, and

In natural scener,'.

„a>ure.

and

«,alc

fi,„.,le

maU

cascades,

and separate quality as of The distinction is not so mnch one of individual as male or fcmaie in respect of one forms placed in combination or contrast, and regarded masculmc, and the lower fall Thus the main torrent of a waterfall is considered and stones.

another.

character placed side male,

used

they are

unless

by

manner, rocks used

like

In

proximity feminine.

in

sex,

side, the

when

v,t1uc

case

of two

in

as

Curious

stone.

applied

such

their

Nor

architecture,

example,

common

is

it

to attribute

they are to

composi-

artistic

all

branches of Western

are such ideas, indeed, quite foreign to certain for

be called the

seem,

observance helping

produce that harmony of well balanced contrasts which should pervade tions.

will

may

fancies

the arts of design,

of different

stones

one of bolder and more vigorous shape

and the other the female

of considerable

gardening have no distinguishing

in

In the

or groups.

pairs

in

In

art.

mate and female characteristics to the

different oruers of classic architecture.

In

Flor.ll

llic

Art ihc

large and small, angular

tree

is

When

flowers as

full

is

7\s

long and

applied to contrasting forms, to different kinds of growth,

a fioAvering tree

considered as male, and the plant

female, of

of sex

iilea

and round, as well as

colours in combinations.

is

female.

used

in

and

sliort,

to various

combination with a plant, the

With blossoms, buds are regarded

male, and over-blown (lowers again are classed as

similar fancy

is

applied to the different

Among

Hewers.

yellow, and white

colours,

red,

ae female.

The

female.

With Howers, the

leaves,

the two surfaces, lend

have defeated attempts

Flower Art,

after

at

surfaces

purple, pink,

and variegated hues is

forms of bud and

full

until

Enshiu,

observing the bulbul bird pecking at the

male;

are

male, and

its

;

and

but berries

of a

tree,

is

the case of

seem

one of the masters fruit

blue,

under surface

blossom, and in

themselves easily to such distinctions

sexual classification,

A

of leaves and to the different colours of

front siu-face of a leaf

different

as

female; the time

vigour receives the male, and the periods of weakness the female character.

full

to

of the

devised the

method of marking certain of the berries in a floral composition as if pecked by birds, and thus ereattng a dual character.-that of square and round. The male and female principles are also apphed to the different directions of the stems of a composition, the right hand side and front of the design being regarded as ,„„/,, and the left hand and further side as female. •-- -n the left side of a composition turned to the front and back to the right is said male character, while to one on the right bent back to the left is

character.

attribu'ted

/„„„&

HISTORY AND THEORY. Beside sex. the v,{

rank.

With

rank

Tiiis idea of

most

plants

the

rank are with

purple

applied principally to different colours of the

same

exceptions

highest

but

rank,

first,

after

with wistarias, lavender

;

with kerrias,

;

before mentioned, a

rich red

yellow

;

;

to

colour.

specimen

with peonies, red with kikios.

number

o[ different

light

Schools of Flowtr Arrangement sprang

impetus given to culture by the great art-patron. Yoshimasa.

the

by

these different Schools are

Emhiu-Riu. Shinsho-Riu, Sekishin-Riu, Misho-Riu.

Rill,

and Scizan-Riii.

The

known

special terms, philosophical mysteries, peculiarities

would be almost

same

main

some

of the

principles of the

floral

designs produced, regarded as works of

be.

The

distinct

Sc-iike-Riii,

art,

more

Enshiii

style has

popular

of the

been

chiefly followed, this

more modern

styles,

but

trivial

art are the

differences

tlie

own

lias its

between

sects

same throughout, and the

only ones which present a

of other styles.

from those

recognisable

easily

Yabumuchi-Riit, Kotio-

Each School

are as similar as any desings can possibly

compositions of the Rikkiva and Ikenobo styles are

character

principal

and secret degrees, but to enter closely into these

like discussing

Tlie

religion.

The

as the Ko-Riu, Ikcuobo-

masters of any of these Flower Schools would resent as ignorant

the idea of confounding their theories with those of a rival style.

most

any other

though there exists a

Rill

the

flowers.

the case of other flowers the colours taking the highest

with camellias, red

with convolvuli, dark blue

styles of composition practised

in the

are

there

takes precedence of those of

and with lespedeats, pink.

;

As up

;

order

flower takes

In

i-arity.

;

43

flowers or leaves are said to liave an

in

pale pink colour ranks

purple

irises,

with valerians, yellow

colours

chrj-santhemuni

With peach blossoms, the of great beauty and

is

wliite

The yellow

rule.

tliis

different

being the most

numerous

In

the

work

present

elaborate and one

Illustrations

of the

have been taken

from compositions of other Schools.

The Enshiu

style

became teacher of

some of

this

was originated by a

He was

Kobori Totomi no Kami.

accomplishment

the other styles, that of Enshiu

or artistic affectation,

and

this

makes

retiiiner

of the

a distinguished professor of the

it

to is

the

Shogun's

characterized

heir,

Shogun lycyasu.

called

Tea Ceremonial, and

lyemitsu.

Compared

by a greater degree of

specially adapted for the purposes of analysis for

a thorough explanation of the principles of the

art.

wiUi

artificiality

and

LINEAL DISTRIBUTION.

X^^N

analysis of Japanese flower arrangements

^^by

the

different

i^^f European

floral

stems

blossoms and leaves line, in

or

branches

decorations' are

alone

play a

may be

in architectural panels as followed

The

tlie

impression

of stability

may

weak springing

membered

that

expressed

in

floral

growth springs

The

designs.

111

separation,

obtains

a

in

this

as

in

The

direction

is

technically

As a

curves

and vigour

life

growth and

floral

;

for

In

some

different

directions

being separated from the

tlte

;

re-

to

all

be

are

not be strictly

weak bends and

springing

lines are

distance above, after which

other cases, each stem-line

in

others

must be

lines, it follows that

cases, the

some

it

vitality

of the stems at starting need

composition consists of several main

in

consitlered

is

immediately from the point of

the distribution of the principal lines of the composition from the point of their the

artist

balance

studiously avoids an

of a

pleasing variety of form. in

which

carved foliage

distributing'

curves employed should be strong ones, and

tangental

throughout,

in

designs

the upper lines of the composition

united from below the surface of the water to a point

they separate

syntlittic

and the designer must here convey

;

However good

there will be several lines of spruighig, or origin,

distinct

are

methods of

to the

not flowers alone are displayed, but

tlie

While

compositions.

all

leaf stands out distinctly silhoiicltud.

at the base deprives tliem of

angles should be avoided.

kept

of

of Japan

during the middle ages in Europe.

and strength.

vertical, but, if curved, the

all

that the lines or directions taken

basis

surface of the water in whicli the flowers are placed

to be the soil from which

be. a

somewhat

likened

the

those

part,

which every individual stem, flower, and

treatment employed

shows

foi-m

merely combinations of masses of colour,

in

more

subtle

kind,

equal-sided or symmetrical arrangement, but he

which

is

at

the

same time productive

Balance and harmony without repetition

other Japanese

arts.

The

lines of

each stem,

is

or, in

of a

a governing principle cases whert

slender stems arc combined, the central lines of each group of stems, receive

first

ati

ARRANGEMENT OF FLOWERS.

^6

The

arrangement.-by

triple

be taken as

three

«vl,ich

model

original

tlie

The

meant

is

tliat

governed by

arrangements (see Plate

for all

of such

lines

may

compositions

prevailing lines.-raay

tl.ree

XXII

A.).

with sufficient fidelity

the central and longest line of

design, and this

tlie

more

the

to

The Primipal.

and Tertiary.

quaint native nomenclature, be called. Principal. Scmidayy.

is

made

to form

as its name implies, is a double curve with the upper and lower extremities nearly vertical and in a continuous the general shape thus assumed being

line,

be about to

all

half,

be

Principal

out

in graceful tlouble

and these two

:

Tertiary

bow formed by

on

According as

its

hollow

side.

is

arranged on different sides of the

are

lines

As a

curves of varied character.

has a more vertical, and the outside of the arched

arrangement

a

more

the

hollow

shown

XXII

in Plate

the former being on the

;

making a counterpoise

Principal faces right or

of the

By changing

called a right or left composition.

of these arc

general rule, the Sccoftdary

tendency

lateral

the Principal, and the latter

different character to the curves of these three lines a great

Some

The Secondary should

of an archer's bow.

tliat

and the Tertiary about one quarter, of the length of the Principal, supposing

straightened

u..

the

more

the direction

the

left,

and giving a

number of designs are produced.

violent curves being favoured

by the

Ettshiji School.

To

produce a

Tlie

Support,

Pr,ncifal:

in

while

and

that

length

its

the

arrangement, two addition.il lines are introduced

live-lined

the three previously named. called the Support,

The one placM between

and

value,

Sni-principal,

as

approaches more the Principal than proper

lineal balance

relative s,^e ..

and harmony

the

its

name would

Tertiary.

obtained.

to

imply,

In

this

balance

w,th the addition

r:: T'-"

lengths and

of two '''"'

"

lines,

"™ *"

different intermediary lengths,

so as h.,, h,«. ,„ t., cu CI,

.

.... have ^^L

-i-..^.». '

:_._

., .1.-

,

Secondary than in

,

that

then,

j

i-

importance

to

.

and

preser've

a

between'4 an^

•'-'

^

the

used to indicate

be valued 4

lines to

"''''-"

to

may be observed a

it

figures are

introduced

Tl,

and

si^e

way,

degrees of importance,

extra

is

called the Snb-principal.

is

the

For supposing

' approximate imte more the dmiensions and character of

.-ing

more

and mtportance, and supposing the three elementary

according .0 their respective

proper

is

approaches

between

the Principal and the Secondary

between the Principal and Tertiary

•

- -^^^ ,

=>^™'='

,.

'^''^

'

cuv^ given vu.vtb gi .I them, to le'":!, and are arc arranged

..,ri::r:r::::it;'xr'.i;ri,"-™r even-li

the ot

Ae

-""'^"""' Si^.li,u-

The

being

placed^et;'"™"

different

members of

°™"" ''°^= °"

''*^^

the above hneal ll„»,l , arrangements have curious

^'''"^

°f

fancy

">'

LINEAL DISTRIBUTION. by the

bestowed on them

different

Schools.

For the

triple

style

such classifications as

Mofhcr, and

that of Father,

Self, or that of Heaven, Earth, and Mankind, are used and terms Centre, North, South. East, West; or Earth. Fire. IVa'er, ;

for the five-lined style the

Wood: and sometimes

Metal.

Vcllow.

Red. Black,

White, and Blue are employed.

School apply the following curious ideas to the different

Eitshin

namely -.— The Heart. Help, The Guest,

Skill.

sentiments which should inspire the designer

The Finishing touch

lines in

treatment of the different

in his

School maintains that there are three secrets of arranging flowers. expression and feeling to compositions;

whether plants or trees

materials,

The

form

general

upon

mainly

Third, the art of keeping in mind the season

;

above groups of three,

of the

amount of curvature given

the

to

fivi

the Principal

the simpler and less affected styles, the bow-like curvature of the

more exaggerated compositions

strong, but in the

this

governing

ways from a point a few inches above the springing, and turned

a quick curve back again so as

in

to bring

the upper extremity vertically above the base, the

centre

form

thus

preserve general

somewhat

lateral

duced. chiefly

with

cur\'ature

This

in

less

vertical

positions

would meet with actual or detrimental

to

a good

Such treatment

in

ponding changes

of

to

is

the

in

the

height being pro-

obstructions

optical

and be

often followed in floral aiin front

of a hanging

This modification

Principal necessitates

in the direction

the

such a

effect.

corres-

and curvature of the

other lines of the composition.

Up

From

a more violent

given to the Principal

which must not be hidden.

the character

to

The

where too much height

rangements placed below a shelf or picture

and

whole.

mentioned above,

string,

its

latter character Is

when used

the

as

not great to that produced

is

bow by drawing

of a

of

is,

of a strung bow.

that

like

shape the transition arc

of gravity

imparted

present, slight

lines.

First, the art

This

of giving

Second, the art of showing the character of the

by avoiding incongruous combinations.

of the arrangement

The

an arrangement,

referring to the diflfercnt

;

li

,

NGEMENT OF FLOWERS. imparted to

be the bow-like

tlie

P>-huipaL

die direction

direction.— that

placed vertically (sec Fig. is.

id

top,

that

its

veitical.

is

such triangle

iangle,

with

—

the Principal.

There

t).

design however, another style of

line

flower

which the Principal

in

has a hori-

composition

of the

of

class

a large

to

applied

arrangements

direction zontal or almost horizontal

and, this

supposing a

2).

in a right-angled

hypotenuse of the

the

This

tri-

horizontally (see Tig.

lie

latter stj>le

or in standing

ap-

chiefly

is

ik^^^^

hanging

|)Hed to flowers arranged in vessels,

;

group of

tri-lineal

enclosed

stjie

triangle,

angle would

on the edges of

clHTs

often happens that one

vases

a

as

proportionate lengthening in order to emphasize

to

having

mouths

in

their

Tlie prevailing idea

floral

sides

arrangements or

suspended vessels,

in

receptacles

in

each of these cases

in

The Streamer

character

but redundancy must be avoided, and

Streamers on both sides of the Principal.

introduce

very much used for

is

shelves.

error

Streamers,

lines are technically called

to either of the au.\iliary lines,

fatal

on the side towards which the Principal

lines

of the auxiliary

Such drooping

may be imparted dreamer

growths

In such elevated arrangements

or banks which lean over laterally.

bends over receives a decided droop and the droop.

regarded

=

^"^

when

vases

suggest floral raised shelves, the intention of such compositions being to

placed on

it

presumed

always

has been

it

.ts base of a line joining general in a right-angled composition enclosed i-lineal ^-••."^ Thus, supposing a m-„.,... corresponding n,p the |„,po,enuse, ils point, with would be standing on <

placed

is

in

tall

it

is

The bamboo

upon the edges of raised

that the composition

must suggest

the wild growth on the edge of a bank or precipice over which the Streamer droops (sec Plate

XXIII.

a).

The above

has been

description

Single line and double line compositions,

sometimes made, but

their use

is

ally for the simplest of all flow

The •crtieal

a

:onfined to

parallel

to

and seven-linei

The

double-line form

is

more

employed

ngements. namely, that of one flower and

di/ferent lines of a composition

plane

three, Ave,

well as those of nine, eleven, or

very ran y rare.

the

spectator,

have hitherto been spoken of as but

actually,

in

addition

to

if

the

o

existing in directions

LINEAL DISTRIBUTION mentioned to the

riKh,.

49

„p„ari., and downwards, these li„e. have also directions of varying degrees forwards or backwards. In other words, tlteir extreme points would require a sohd and not a plane hgurc for their enclosure. These directions are best explained by supposing a bundle of stems placed in a vase of octagonal plan, and designating the eight different facets of the vessel respectively as north, left.

north-east,

south-west,

soud,,

,mmod,ately

some

ui

west,

north-west:

front of the

litde distance

spectator,

the

d.)

Of

vase.

tlie

flat

Though designed

drawings.

immediately in

front,

first

A

similar

that

is

principally with

the

is

between the Primipal and

sight

In this

manner a

be supposed from explanatory

object of being seen from a point of view

error,

Cross-cnltiug.

Vici'-cutting.

called

fault, ;

of

but this is

is

effect

are also taken into consideration.

left

designs are pointed out to be

floral

which

is

strictly

produced by allowing two or more

angles.

exists

when a stem or twig

allowed for certain trees, as

for

cuts across

its

example the Plum, with

a characteristic feature of the growth.

called

Parallelism,

when two

occurs

branches are exactly parallel to one another, a

fault

or

more adjacent stems or

much aggravated when

the lines are,

of equal or nearly equal length.

Wiudow-cutling, so named country,

vessel

after separation

given to the compositions, and they

is

first

one another, so as to form

which such inter-crossing

in addition,

the

they obtain by the above treatment solidity and variety, and their

parent stem or branch

Another

of

extra lines used fn seven-lined arrange-

laterally,

CerUiin errors in arranging the lines of

The

south-east

east,

face

d,e stems coincide for

between the Principal and Secondary.

lies

the two

points to the right or the

lines visually to intersect

the

all

:-Tlie Pyindpal bends north-east, the Stcondary

arrangements which might at

when regarded from

avoided.

south that

Trunk-line bends north-east, and the Side-line bends west.

ments, the

pleasing variety back and front, as well as

not

the

mind

in

Tertiary south-west, the Snb-primipaL which

Tertiary, turns east, and the Support, which

terminates centrally over the

are

imagining

from their origin, the cardinal directions which they take

would be as follows (see Plate XXIII south-east, the

then,

and bearing

is

the

name given

re-cross in curves so as to form

Lattice-culling

is

to

after the

curved or cusped windows of the temples of

an error occasioned by allowing stems to cross and

loop-like openings.

an exaggerated form of

Cross-cntting.

and

this defect

stems cross in parallel directions so as to suggest the appearance of

lattice

work.

ARRANGEMENT OF FLOWERS.

50

Another

fatal

error

is

that of

employing the Double slreamcr. or drooped branch, Tlie above rules of prohibition,

on both sides of the same composition. ed, are in

for the most part similar to those followed in floral

the best styles of the

redundant in

Plate

effects

arts,

and to be productive of general harmony of

various

directions

of line

imparted to the stems

on the above principles are obtained,

then, by twisting,

of cutting

it

be observ-

will

and other ornamental designs

being intended to prevent harsh, conflicting, or

They

line.

are illustrated

XXIV. The

trees

architectural

and clipping away defective and

manipulation

will

first,

by a

carcfti!

of plants and branches of

selection of suitable material

bending, building together, and fi.xing at the base

be afterwards considered.

superfluous

parts.

;

and.

Some

lastly,

special

•

by means

methods

ol

SELECTION OF MATERIAL.

SJ^^'^ ^^J

^'^"^

general lines of composition already

indicated,

arrangements are

flower

made, sometimes with one species of tree or plant alone, and

'*^J' combination of two or more species. ^ one composition, though

The

many

use of

followed in the earlier styles,

is

sometimes with a

different kinds

of flowers in

opposed to the principles of

the purer styles afterwards developed.

Combinations of two or three

species

difi'erent

especially applied to arrangements in vessels having positions, carefully

single

kept

scrupulously

combined,

or in

mind,

avoided.

the

anything at

Important

between land and water

special

plants.

all

nature

are

distinctions

The

or season, and

many

flowers

which are

In

of

different

the

of the in

art.

Second

artificial

As an example

of this

is

These points

special

of distinc-

arrangements, within the limits

may be mentioned it

is,

may

a

late

kind

of

peach

not be employed, because

specially a flower of the Spring time.

In arranging two or more species

combining branches of trees with

in

plants.

one composition, variety must be sought by

In

the

case

of three

lines

branches of a tree should never be "supported" on both sides by a plant be placed in the

by a term which

and

plants,

flowerings, or flowers blooming out of their proper season, are discarded

flower compositions.

blossom, appearing in the Summer, which, beautiful as the peach blossom

is

most

proper month

its

more than one season have

to

are carefully studied, and are expressed in the

and

trees

com-

all

being

whether mountain, moor, or

Each flower has

characteristics of growth, or of form, during the different seasons.

tion

materials

inappropriate

made between

locality of production,

common

however, very common, and

employed

suggestive

considerably influences the arrangement adopted.

river,

are,

two or three openings. of the

will

centre with a tree arrangement on either side.

be better

understood

if

freely

translated

as

being

used,

the

plant, nor should

This

a

fault is called

sandwiching.

In a

ARRANGEMENT OF FL O WERS. arrangement

triple

it

is

plain that

two brandies of

tlic

same kind of growth must be

As an example

remaning one. but these must adjoin, and not saitdwich the

and camellia

azalea

plum branch

XXV.

sii/'/ror/hig

and

side.

in the centre, a

pine

Some

The above arrangements

likely

express, especially ss.

by

centre,

correct composition

branch

on one

[tree)

rules

occasionally the

allow

Schools

side,

used,

of a defective

and branches

of

would be one with a and a bamboo stem

by a

either side

plant,

violation of this rule,

provided that the tree

is

and permit the a mountain tree

a land and the other a valley or water plant.

is

were no doubt made principally to prevent the weak and insipid

be produced by the careless violation of the principles which they the hands of the inexperienced. Plants, as before mentioned,

to

in

are

female with respect

weaker and more graceful side

A

tlie

For e-xamples of the above correct and incorrect arrangements see

other.

of a tree on

one of the plants

that

regarded

on either

{Irecs)

[Iren]

on the

[plan/)

Plate

{f/aiils) in

taken a composition witli irises

may be

arrangement

in

to trees,

which are considered male, because the former are

A

character than the latter.

slender plant flanked on either

tree branches

would give a weakness of effect to the centre of the composition, and arrangement would give too much strength to the centre and weakness to the to this, such arrangements would have a more or less symmetrical character, and symmetry is disliked throughout the whole of the art under consideration L,ke most arbitrary rules, such directions were often departed from by the more advanced professors, and there are even recognized exceptions which are universally admitted as correct For example, two kinds of pine branches may be used together with a plum the reverse

sides.

-ed

ous

In

addition

together, and the

.J:"::^^ 't r^ „ W

.0 be

employed

witl,

is

//»<

its

leave, of

leaves only the

Summ

are faded and

and discarded.

-'

-^"^^ -^-^'^-n^. '"^

'

nolsT

r

The

^

'as

before ,h.

n

1

°'

"™^="'^"'

-d

°^'^"

'

eve„ of decidu-

^^^^

-"-'

^

"'" '"" "° ""^-^^"""^ "'-' "'"''' ^"' '""''== '" '''°^=°'"

"'"

fl

1^:™' "=.^r"°" '" ""' ^"'^ ^"^"^ '^^^ ^""'^ '^""'' '"' ""^ I T" ^f J«ponica sometimes a """" ''^'''- ^' *- --ves a special name.

ower bu

therefore technically treated

arranged for

employed with the Serissa^ida.

7'"'''°'"

^ves l!

i-ved Chinese orchid has 1

The

often

t

'ime be used with flowers alone

P>ant

is

^-^-^^^

single blossom. is

Oloua ar.enlea

ZlZ

T

is

''

witheLXrir a""' "' f^ "°""'^

='PP'=^'-'

''"'^

''"''

they

"^'^

may

°' '''"'"

therefore be

^'"-

removed

SELECTION OF MATERIAL. flower compositions

All

seasons in which they are used. line,

like

of

Autumn

Summer

arrangements must be

should be spare and lean

Mention has been made above of flower composition, which are to

of a

certain fatal errors

be

carefully

not be allowed to occur in regular steps or rows

supped arraiigcmmt. ornaments used

flower exactly

full

Another fauk

in

avoided.

•.

combining the stem-lines

There are other

faults

a composition, and this error

in

called the

Nail/umI

s/y/e.

after the

is

called

stiff

metal

a flower turned

in

The term

either side.

in

Large blossoms should

flowers.

cover nails in Japanese buildings, consists

to

view to the spectator with leaves on

in

and spreading

full

and those of Winter, withered and

:

arrangements which concern the distribution of leaves and

the

of the

spirit

Spring arrangements should be strong and powerful

the growth of early vegetation;

those

whilst

53

must partake as much as possible of the

Cohiir-atltittg

is

given to the error of placing blossoms of the same colour on either side of a single blossom of

another

This

is

colour

as,

;

manner so

that

The above errors are Three flowers,

the

distinct

there are

young green

the

s

character of blossom

is

will

full

the

full

blown blossoms

bent leaves

weak

;

ag

white

given

bios f

II

I

a

between two red

ones.

,

a composition to a leaf which droops

1

observed both

ai

1

ed lening or

e

anpl fo

1

for the

in

h

1

f

1

;

leaves.

and

In

in leaves,

;

For the Primipal,

and

for the

Tertiary,

open flower

is

more

the half open flowers for the Principal, and the

Straight leaves are considered strong, and curled or

the strong flowers should be near the

in

a

cherry or peach blossoms alone, a difierent n s of the composition.

Scamdai-y, half open flowers

blown blossom, use

In thinning out leaves

in

In flower arrange-

falling leaf.

designers, on the principle that the half

for the Secondary.

and

flowers

e half op n blossoms, and the buds

d

af

down

this is greatly objected to.

:

XXIV.

j

1

oms

fo

d

sele

be used

in

Plate

should adjoin the buds or over-blown flowers. above.

chrysanthemum

not support a drop of water

of

Some

buds are employed. powerful than

is

could

full

th

leaf,

blown flowers

leaf

it

illustrated in

ments with one material

full

a

only another e.xample of the prejudice prevailing against sandwiching of any kind.

The term Dcia-dropping feeble

example,

for

A

weak

leaves,

and the strong leaves

flower below a leaf

is

weaker than one

a composition, two strong leaves must remain

for

every

FLOWER

VESSELS.

STANDING VASES.

m^AVING

the

classified

rl^Tjapancse

differenl

designer,

floral

^!^ vessels which are

it

employed ^

-,.

and trees which supply material

plants

leccssary

is

for

.

describe the

to

eiving the compositions.

i

various

sorts

tlie

for

of flower

The form and

character

">" of such vessels considerably influence the nature of the floral

arrangements placed of

shapes

and

them.

in

different

of

These receptacles materials, such

the

to trace to

development of the

vessels for receiving

the various

so

vessels,

shapes,

long-necked earthenware

and

led

The

tall.

to

the

the

use

existed between

It

placed

is

is

times

tlic

a

floral

important

by the

arrangements

high

and

vessels

This

connection

that

fact

a

cor-

sliows

that

to

of proportion

the vessel in which

the

height,

was made proportion-

such

recognized

note

floral ar-

used was a

of considerable

therein

and

of such

decoration

receptacle

compositions.

f^rnup

to

porcelain,

necessary to refer u<

and

vase

and broader

of shorter

earliest

placed

of balancing

difficulty

responding lowering of the

from

be

will

ancient

bronze

or

composition

flower

the

ately

it

material,

control or are governed

The most

rangement adopted.

wood,

Without attempting

different art-industries as appllc;d

flowers,

proportions,

they

as

far

are of a diversity

as

pottery, bronze, brass, iron, and basket-work.

surface of the

It

was

which the flowers

wa

growth springs, technically regarded as the soil from which the origin.

With

this

principle

in

view,

here convey the impression of a stable avoiding too great a height guided also by the necessity previously mentioned of

must

j

and the designer

mi

and

flower

ARRANGEMENT OF FLOWERS. 56 broad-moutlied va compositions, a sort of bron, many shapes, generally in

there are

trumpet-shaped form, supported

became the

displayed

tall

narrow

the tiny tea

in

to

wide-mouthed kind,

A

stems.

also

common tall

the ordinary fixed

increase this

as

I'or the

one

Plate

in

use, besides several fancy

XXVI., but

made

of pebbles or

name

number

and a half times that of the vase.

Some

is

Schools

FOR WATER PLANT.S.

purpose of displaying,

came

in

a suitable

and suggestivt

into use from quite eariy times

ranner. water plants and

There are two I.

principal

The Sand-bmid

is

a

oval

of bronze or porcelain, and contaning a layer

sand covered

implies,

with water.

The Harse-tnb

Its

use as a flower vessel

said to have originated during the exigencies of

when a famous

is,

a shallow tub of wood, circular in plan,

and generdly lacquered black. is

there exist a

forms which are occasionally employed.

narrow mouth, the height of the flowers

broad shallow vessel, oblong, polygonal, or sometimes

its

and quiet

proportion, giving double the height of the vase for the floral composition.

grasses, low tub-like vessels

as

these, the

such as are

flower arrangements are always necessarily

kinds employed, called respectively the Sand-baitil and the Horse-.

plan,

Among

very light

an appearance of stability at the base of the flower

vase, whether of wide or

V'EHSELS

in

used.

rules of austerity necessitate

for elaborate

ensure

approximately

much

the simplest arrangements,

for

few of these different vases are shown

of other shapes in

With

generally

employed

rooms where

Vases intended

Horal compositions.

of the

are

necks

kind

the ordinary vases employed in the

n

Other kinds of vessels, corresponding cylindrical bodi West, having necks and oval or with

this

water, spray, or an animal group.

sulyect castings representing sucll

vases

Of

favourite form used.

and varying from a low saucer-like vessel to a on short legs, and sometimes upon ornamental

war tmie,

general of Esthetic tastes,

in the leisure of a long campaign, employed a comnipn horse-tub for arrangint;

flowers

™es

wl*

in.

t,,at

Whereas the

t°

it

is

a rule with other kinds of flower

water shall not be

r'T T

visible,

the water

,„

vessels of the

"""'^ ^™"""' ^"^ "- P'»-

: a,e re assocated w,th the propinquity of water.

Water

="-•

Sand L,\.^ Hor.

'-- -«>

-

only those

plants are chiefly en,plo>l,, but

FLOWER VESSELS 57

somclimcs plants or trees which grow thp Innl-c „f ^ S *v on uie banks of streams are allowed I The iKr- t^\ such water vessels is, moreover, chiedy confined to the --"niinea tlin warmer ... months of the year when f k I ^ . the s,ght of a broad surfaee of water is gratelul and refreshing to d.e eve H'-fT ^ ^ rule of proportion between the flower com-

w

1

,

and the vessel

position

is

followed

when

these

broad shallow receptacles are employed. height of the

floral

composition

is

The

made about

one and a half times the breadth of the and

not regulated by

is

vessel,

height as with the

its

ordinary standing vases.

It is

water-bowls

use

or give

hold,

to

customary with the above-named

to

fancy fasteners of metal,

the appearance of holding,

the base of the flower stems.

when

described afterwards of fastenci-s

and

bmols

is

A.

mention

is

special

will

be

Examples of Sand-

discussed.

Horse-tubs

A

XXVII

These

the whole question

are

shown

in

Plate

^

water vessel requiring

that which goes

by the name of the

Long-boat, not from any particular resemblance in

to a boat, but from the

form

made

of white wood.

a similar

In

fact that

like ^'^%-

is

j-

very long

m

propoilion to

its

a Sand-bml, and

\

\

manner, with sand, pebbles, rocks, and water.

Another form of standing soit of

it

shape, the Long-boat resembles

vessel

sometimes used

for plants

is

the

box-shaped vessel of worm-eaten wood, with a capping piece crossing

Well-frame, a at the angles

an Oxford-frame, the whole resembling the wooden framing round a Japanese well (see S)-

The

rustic character of this kind of vessel requires that the flowers placed therein

should be of the simplest kind.

Hcndron sqitamatutn) japoniea).

is

used

In

In the example

illustrated,

a plant called Togiri

{Clero-

combination with a long slender grass called Susuki {Etilaria

ARRANGEMENT OF FLOWERS. FLOWER BASKETS. The

Yoshimasa

famoii!

as

basket

plants,

cane, or ban-

is

said

of Chinese manufacture,

„„

been

have

to

made

Baskets,

flowe

for

:plac]e

a

plaited

the

of

ploy

first

were much prized

and

Japan,

To

tlie

of creeping

items

reecli

high

the present day

tlie were given for antique specimens. vessels appear, the more they are moie mellowed with age these A Chinese artizan, named Hokoji, is said to have intro-

prices

\ahied.

duced his

manufacture into this

their

own make

that

presented one of

with a humble request

when

should be embellished with an ornamental stand

it

Yoshimasa

Regent

the

before

He

country.

to tlie retainers of Yoshima.sa,

said

is

simple elegance that he ordered

widi

its

dais

without any

stand

or

it

From

tray.

placed

to

have been so pleased

to

be put at once oh the

this

it

is

said

arose the

custom of dispensing with a tray under Flowt-r-haskels, though used

A

under other flower vessels. large

handle arching over

oval

diape, from

name of

the

its

neck and no handle,

name of

his daughter. Reishojo.

Fig. 6.

arranged

Flowers placed

in

with a

top.

tlie

.-naker

first

straight

in

special kind of Ftoiver-baskel, with a still

is

and

:

called

anotlier

called the ReisJiojo

is

the

Hokoji

kind,

with a

shape from the

The Hokoji-^^^tt basket

convolvulus twined

such baskets are

fi.\ed

round the

bamboo

in

shown

is

handle.

tubes containing

hidden within.

.\notIier popular story, in connection

that

the famous

cherry

blossoms on

common

there

positions.

the banks of the river

are

KaUm-baskd various

Of

fancy

these the

or the

forms

cylindrical

two or three inches above the horizontal

The

Rai,,.,oal-bmhl.

is

visit

when he made use

a special basket

still

is

to the

of a in use

Besides the orthodox shapes alluded

employed

following principal examples

The Hatf.plailMa,kel. a

There

in.

T,-o,il-bmkel.

of baskets

flower vessels,

on the occasion of a

Katsura, near Kioto,

trout-basket to arrange gathered flowers

called either the to,

with the use of baskets as

philosopher Rikiu started the fashion

in

both standing and hanging

may be mentioned :-

basket

in

which the

plaiting, as if unfinished

in

vertical threads project

making.

a hemispherical basket with a frayed top hanging over the

edge of the mouth, and somewhat resembling the straw

collar

of a Japanese farmers rain-

FLOWER The ,fW-fo.X.,. a ™u„,y ,,„p,, used

,n

collecung

Th.

wool of

tlie

*

cotton plant.

Z^,„y.to,., a .„,a„ ,jai„ ba,k« „;,„

^ [

tl,e

VESSELS.

,j,i„^^,^^,

_.,

,,_,„^,|^

""utr

lishine-bait.

The IIor„Ma,hcl, cylindrical

form,

with

a

basket

of

m

tu

it

""'"'•

''"''

usi:cl

for carr

tall

two horn-likc projections

on the top as handles.

The

Spuire-baskct, a

cubical shape witli

The

basket of simple

no handle.

Loiig-bttshl.

a

tall,

diin,

tube-like

The

Soscn-baskd. a basket of pyramidal shape, haviny four sloping sides gathered to a circle at the mouth, and with a high arched handle.

The

ventor.

It is

mums

in Fig.

name

that

is

special

in-

its

baskets for hanging or

may be mentioned

the following

The Horn-shapcd-baskd, ed

of

7.

Among hooking

Sosen

shown arranged widi chrysanthe-

:—

a basket shap-

like a bull's horn.

The

Cicada-ihapctt-baskd. so called from

The

SnUcrJly-slinped-bashl.

a

'

Ijasket

broad arched body curving out to points

whicli

at the

lias

bottom,

body of

the

a short cylindrical llie

ivhole

neck, and a

form being suggestive

of a butterfly with open wings.

The

Hooii-shapL-d-baskcl

opening towards

one

end,

,

a

lj.isket

somewhat

of an

resembling

irregular in

shape

oval

a

shape

below with a tup

baby's

sock and,

to

the

NGEMEXT OF FLOWERS. It

in the cold seri hoods worn by woman Japanese, sufgesuve of the with Willow and Narcissus.

is

illustnUed by

Fig. 8, arranged

The Gmini-sluipaUaskd. a

basl'

"=

a^

«a/.>./„V„,„._Uo„s.mouth-shape; a

cylinder from ten to fifteen .nches in height with a sqnare side-month about 3 inches

^*./;':.^/^„^.-Rampant-lio„.sl,ape; a higher cylinder with

siIi liii;h

vase with

Wo

small side openings

one above the

other.

^.. . A-,rM7ra-jr.i/^.—Tile-shape

11 r.-«m so called from

itc its

1

i

a

to lo

ri-scmblance resenioiance

cylindrical ,

half

cappiiii' i i i,

tile.

7?my.,c,m„g-Mp. the Becal,„cd-Mp. and the Bra„ch-ladm-Mp. These different first, by the direction, right or left, and backward or forward, given

fancies

are conveyed

prow of the con,pos,t,on.

to

the

vessel;

and secondly, by the distribution of the different lines of the flower Even the length of the suspending chain and the distance or

pro.vimi.y of

ARRANGEMENT OF FLO HERS. These

XXXIV.

Other

special

of composition

styles

different

rules

shown

are

hanging boat- vase

for

Suspended vessels by a thick ii|Jon

One

silk cord.

a frame designed

suspended

in

To

the

WeU-bncktis are often used

called

of the buckets

chamber

pairs

over a pulle

Iiiing

well,

some

cast

and the other

air.

Rikiu

is

attributed

the

first

use of such

flower

vessels,

the

idea

coming

he was observing a convolvulus twining round the bucket of an old

hilst

of buckets are

lilar pair

Plate

in

discussed.

is

Hoor, or in

tlic

boxing round a

imitation of the railing or

in

in

allowed to rest on

is

form

skeleton

a

in

be considered afterwards, when

will

>

the general question of the position of flower arrangei nents in a

occasionally

to

A

well.

employed without the pulley and suspending rope,

being placed balanced on the edge of the other so as to leave only a portion of the ncovered I

for the insertion

of flowers.

stand for the lower vessel.

ensure

stability,

cylindrical

as

In

but for

well

wood

buckets

rope

is

arranged

a

in

are always flat-sided, to

are

These

employed.

For the most handsome kind

or even an iron

black

in

a red silken cord should be used

a plainer cord

case of the rustic buckets

hemp rope

way

ordinary suspended arrangements,

the

lacquer, a chain of silver or

the

tliis

wood, of wood lacquered black, or of worm-

eaten or decayed timber.

to those in ordinary

in

square

as

vessels are of plain

case the

this

Buckets used

may be

of decayed

chain

may be

attached

;

and

in

wood, a common substituted.

Single

buckets are occasionally to be seen standing upon a low table or

decayed

slab

of wood,

or hung by a single

bamboo

rod.

(Sec rlate XXII.a.)

Porcelain

of quite

:

buckets

modern

and

pulleys,

introduction,

although

not uncom-

and not accordin^";'

^

^*.

own.

In attending such a reception, the visitor should leave

the

in

fan

is

It

mainly with the object of giving pleasure

partake of the character of Flotoer Medrngs. the guests spccting and admiring

a polite accomplishment, and

regards etiquette and ceremonial.

desigi

certain

convey

to

Receptions given

guest.

rules

all floral

and on

;

intended

actually

tliat

bottom

of

-

^

ARRANGEMENT OF FLOWERS. 96

tlie

in

tUe

the

;

•

li:chiiiqtu\

closely

the

he may inspect the manner for so doing, word of apology lastly, v i,h a of the most d,n,cu t part, of this being one at the bottom, stems are *e,d the branches and peer too behind face the ipolite to put I It 's cons guest slides a little back and regards inspection the

composition wliicli

into

Mer'Vuch

flowers.

the

from

whole composition

a

respectful

expressions

suitable

using

distance,

of

give the exact expressions to be cm-

actually go Rules of etiquette admiration.

tl

|

least

large

in

I

u

ee of

[

1

fill

1

SI

1

Iso

la>

1

poles

n 1

A of ban boo

boo

I

on

and Hoat widi

to

ba

>,!

falling

day,

this

so as

olio V 1

ell ntjs

Festivals,

designs.

the Fete for boys, called,

I

i

T

pa I

1

Hower

indica. are chosen for

a

general

oliday should

called

is

sup-

poems and

with

bamboo, and Anthriscus argiicns (Karukaya). arranged

is

be

feasting

Platycodon

together; or

PLATE

JAPANESE INTERIOR.

XL.

ARR.WGEMENT OF SUMMER FLOWERS.

CEREMONIAL AND ETIQUETTE. Palrini^ scahiosa-fcUa of

employed

suspended bronze boats,

couple of

a

(Ominaeshi)

called

and conta.nmg paper cbrysanthemums,

face,

design

cord

of silken

cords are

of

five

the

called

A

planets.

the

different

which

flowers,

of

Cleytra

japomm

the Principat

in

three

all

the

idea

adopted

is

The

stems bound

their

These

worship

slamling

to

v.ascs,

vase contains

central

vases should each

h.ivo

of

of the

red.

of

for

formed of a branch of

two

other

must

vases

and

purple,

with the

vessels.

be

should

and

(Sakald),

designs

floral

asisociated

three

in

prows

their

should be

Slnauuy

the

to that of the other, five loops

method of composition

simila

flowers

To

flower.

colours.-white, yellow, blue,

Woi-shipping-mds. being

somewhat

seven different flowers being placed

The

The paper

real

one of the boats should be hung two, and

in

,01

arrangement consisting

special

the Faci«g Iloals, because

used.

is

seven colours, and among them should be one floral

A

singly.

three

the

sacred

hold

two flowers.

tree

Worship-

with the

ping-cord.

and

is

The

last

of the

called

the

fete

Five Festivals occurs on the

of chrysanthemums.

with a fancy that this flower in

For

wine.

this occasion,

used

invariably

for

compositions,

the

Teriiaiy, blue

or

composition, the

in

the

addition

In in

ll«;

For or

hottest

vessel,

should

the

first

together

have

moved. Shoguns,

the fruit

Ihis to

fete

or

special

plants

while

first

his

for

japonica

Festivals rules

the

just

arc

enumerated, Uiere

.adopted

faded

.all

specially

entrance

three

Naitdiiia domesfica (Nan-

(Omoto), and

he arranged

should

and

for

Support.

the

called

is

first-

red

I

day of the cighUi month, berries,

blossoms

for

dark

for

is

in

the

are rg\REPARATORY 'v*^M

unless

shape,

and

it

lUe

become

dawn

at

they should

hollow of a deep

to prevent injury.

the

well, but not

After keeping

cuttings, just

water

is

in

it

is

usual

to

softer

at

first,

—to

slowly

stems and

The the

floating

some

cord

soft

hours, and sometimes for a whole

tubs or bowls of clean

in

a period only,

In

the

sprinkled

very

a

cold

cold water.

water takes place

this floating in

and productive of

vitality,

little

brittle

and

and

floral

for

cuttings

to

combinare

not

The stems

a shady place.

in

difficult

brittleness in the

preparation

their

frosty weather,

and kept

wann and thaw them over

bend widiout breaking, and

a charcoal brazier,

in

order

to

make

pliant.

essential

rise

into

branches

points

cut

produced

parent growth

their

enabling

necessary in order to give

from

laid

at such

for

if

down

to

be secured with cuttings

for

flower

arrangements,

preserve the succulency of the stem extremities, so that the water from the

vase continues to the

manner

bid

be suspended

Large delicate blossoms

as to dip into the water.

.so

not

If

required,

unlil

with advantage

its

from trees

very coldest season.

a cool damp place

in

lie.

speedily lose

will

temperate and cool seasons, however, immediate immersion

such season

and more

it

important that cuttings

is

undergo considerable bending during

but simply

water,

The two are,

to

vitality of tlie

and stems are loosely bound together with

in this

a flower arrangement.

and branches are

them

In

It

They may

found to be injurious to long

stems, which have

laid

kept

before use, are

immediately after cutting.

into

order to prolonfr the

dusk, except in the

or

lie

During the heat of Summer, and

ing

in

upon stone or cement paving.

or leaves are wrapped in soft paper,

in cold

and tree cuttings into vases and other

and faded.

limp, drooping,

manipulated at once, possible

day,

of plant

necessary

however well designed a flower arrangement may

For,

possesses a certain degree of vitality and endurance,

and plants should be made

the

wcdj^ing

precautions are

thus employed.

vr:;t.'tation

1

to

certain

i|j^'r.-

.11-1.111-.

]>er[iiiu.'d

but

irtes,

peony,

,u>d

of this

varieties

in

It

two being

the position of

should

never be

other flowers must be excluded is

professedly followed out

of

ARRANGEMENT OF FLOWERS.

,,6

peony as queen

respect for the

renders

being

material

calculated

customary

is

flowering plants, but

all

purely

in

same

also subjected to the

is

peony

arranging the large

its

luxurious character really

considerations, the addition of otlier

artistic

and elaboration.

richness to produce a surfeit of

ment of the cherry blossom

It

of with

practice consistent

sucli

The employ,

restrictions.

between the

to introduce

principal

stems one or two black withered twigs, which, by contrast, enhance the appearance of the leaves and flowers.

the blossoms are massive

."is

sparingly introduced between the

used

remainder

the

:

composition

one

for the Secondary,

The

positions.

some

leaves, because

—

the

presence

opened

of the

or

albiflora,

and

kind,

— which

is

The peony

Tertiary.

Principal,

for the is

and

in

Sccotiiiury

associated with peonies in decorative foliage.

young

species of peony,

small

blo-ssonis are preferred

buds for the

lion.

combined with other

often

is

Pn'mipu/

intermediary

surrounding the

leaves

beinjr

the ordinary

for the

Thej- are technically called the Lion-hidinp

Tertiary, with the addition of strong

The nmiia as the larger half

The

to cross in front of them.

supposed to be suggested behind the thick

is

be used for the

Kor

flowere.

may be employed, one

disposed so as to give support to the flowers,

blossom should be large and closely grouped.

art motives,

they should be

Tertiary, and the remainder distributed in

for the

leaves are carefully

made

are

cases

one

opened

jjartially

three lines, five or seven blossoms

in

in character,

more than one full-blown blossom

rarely

leaves,

of buds and

consists

and heavy

not held in so

is

plants.

full

flower bud

.^

should

leaves.

sometimes arranged

much honour

In the case of this plant

blossoms in

the

for

Secondary, and

wide basins divided

into

separate groups.

Illustrations

of this

flower,

.irran-ed

ARRANGEMENT OF As has been w,.h

the

of the

sp,r,ts

esttve gatherings.

k.ng

of

da.s

the

must ,

regard

a.s

stated

It.

owets be

the royal

dea.l,

in

and

an is

early

in

given

flower

India

the

precedence

of

China.

kinds of

may

v.lses,

therefor,- consideretl out of place as

source of

all

,„

be seen

in

LOTL'S FLOWERS.

part of this work, the lotus plant

however, holds high rank of

diff-.-rrnt

in

of

the

flowers,

ea.se

of

Art.

When

Butidhisn,.

other

.„e

Horal

and

the lotus

is

associated

a decoration

being

regarded

employed it

would

plant,

on be

the

at

as

the

con-

kaves

PRACTICAL EXAMPLES.

to

most

the

play

nearly

important

part

The

water-planti.

all

the

in

— present,

ed by a partly decayed or worm-eaten often called the Mirror-Uaf,

mirror

and future

;

This

which

tinii-.

often

is

it

be

should

plant

vessels

resemblance

its

vase. Saiid-hasin. or

As an example

water-plants.

Alisma planiago (Omodake). and

so

as

form a sort of miniature lake scene.

in

broad

that

is

rush, with the addition of ornamental stones,

suggest deep water; and as the lotus flourishes its

leaves,

Tertiary

followed

is

A in

in

The

the

curled

The

Tertiary.

from the

leaf.

An

blossom

open

and a flower bud. kept low

Secondary,

lotuses,

irises are

an

open

a smaller

in

is

large

place

of ,the

used.

The

is

leaf

being

whilst

for

placed between

is

for

is

introduced,

Nuphar japonicum.

combination others

in

the

Tertiary,

Principal,

a

Tertiary

a

Principal and

Tertiary,

position,

in it

a

separated from the

but bent

in

an

half oix-n

Hower occupying the

Horizontal-triangle

style.

After

Of

direction.

in

thej-

stones are added to connect the whole group together.

leaf is

Alisma plantago

by a short space, with two leaves

rushes

opposite

witli

two or three more

iu Principal consisting

a young and only partly opened

the lotuses and nishes are disposed

the

the

tlie

rushes are then arranged in five or seven bunches, and the

afterwards

growth

used for the Principal, a half open flower

next placed

having a bunch of flowers between them, the composition being similar the

designs

stems of

introduced between the Principal and the

position,

shape, and below

of interesting

Secondary,

in

next arranged at a distance of about two and a half inches

flower

The Nuphar japonicum oval

of a

for the

;

and

leaf,

three leaves for the Secondaiy. and below, in the place of the small leaves.

floral

idea of }^-incipal Secondary and

the disposition and character of the leaves

large round leaf being employed, for the Secondary

young and

general rule applying to

comparatively deep water, the

a compound design, are kept short.

in

Tub, in

of such com-

Niipkar japonicitm

iris.

suggest shallow water, whilst those short

plants

tali

idea

leaf,—

shape to that of a Japanese

in

wide-mouthed

a

with other

(Kohnne).

basins,

applies

the

represent-

is

a handsome open

pound arrangements may be described a combination with the

to

express

IMst time

leaf not fully open.

arran^'ed in

united

which

rule

to

selected future.

Present time, by

leaf;

on account of

by a curled

be

and

past,

127

being a

this

should

leaves

lotus

Buddhist divisions of time

of the three

conipositioii,

the are

the

in style

five

to

all

arranged

in

that

of

plants in this

Vertical-triangle style,

and the

position,

the

ARRANGEMENT OF FLOWERS. ARRANGEMENT OF ClIRVSANTHEMUMS. red very

consic with chrysanlhemunis are

\

Of

skilfully.

this

flower there

2

many

difficult

kinds,

to

arrange

some

of largf

presenting least difficiiltj and some of small blossom, the latter There are varieties peculiar both to Simnnpi in treatment.

and Autumn, and

also a later species exists called the Wintei

chrysanthemum.

Characteristics

are

seasons

shown

are

2S,

faithfully imitated in

there

and

chrysanthemum, will

It

dc^siffn.

be

separate the

same

observed

of

Summer

rangement of Au-

tumn

chrysanthe-

mums,

which

i^

altogether

more

mature

style

in

in

accordance

will'

This cs to

great

preserve

the

leaves.

cut after

freshness

in

should

be

It

and the

sunset,

ends of the cuttings should

be burnt to charcoal, and placed siderable

time

in

water

so as to prolong their are to

brittle,

the

and need great

desired curves, very

for

before

vitality.

skill

a con-

wedging,

The stems in

bending

refractory

per-

growth.

at

the

differen

compositions. of

combined

the

small

to

make

In Fig

Summei

that the lines of this coniposi

esjjonding with the

strong and vigoroii ter

of growth floral

sprays

In

contrast

to

this,

charac

Fig.

1^

1

PRACTICAL EXAMPLES. The blossoms in

of the

and

2S

Figs.

small

number of

and 30

methods

tree,

are

the

illustrate

chrysanthemums as

small

and

of

Fig.

in

large

30,

five

flower,

the blossoms

ed and of

lii

stem

each

ber.

three are

against

as

must

of

view

same

the

away su

so

length

steps

previously

composition

to

the

be

to

Fig.

arranging

at

another

is

faults

open

large

arranged

in

To small

in regul;

fault

should

correct

not

— i

The

be

a tendency

bamboo

having large

large clusters of flowers.

to

blossom

The

skewers illustra-

shows the method followed

plants

its

lower part of the

the

hidden are employed. 32

in

cobnr-sandiuiching,

;

flowers

leaves.

above

carefully

tion

and

;

by

—

a

;

should not be put

hidden

to

described,

against

its

turn

exactly

the disposal of blossoms

objected

is

guarded

;

it

flowi

;

must three blossoms be form

ngulai

nut

present

to

must

nor

compositio

the to

A

flowers.

be turned

in

of

disposition

blossom

disc

s

must

which

large

back

be

to

said

guarded the

bearing

flowers,

faults

blossoms flower

in

or

shown

^^^ '^

grouping

to

a branch

Fig,

generally

Figures

of

In

shown

as

groups,

in

flowers.

auxiliary

a mixed composition.

in

used,

species

full

clirysanthemiim.

massed

are

31,

consisting of an uneven

29. three

arc employed.

29

togetlier

of

some sprays

With

\\vi

ARRANGEMENT OF FLO is

se\'en re seven There are

the patrinia.

T^-tiary, Sub-prindpal, Side, and

Secctiiary, Support. d. e.

f.

addition

In

three

general are

designs stj'le.

by.

applied

those grass

degrees

the

or

ideographs,

shoivn

tlie

peculiarkir

dis

san to

the

square,

running

Plate

Chinese different

or

XL\'II.a.

chrysanthemiinis

with

ar-

LXII.

other

exhibits

t

of chrysanthemums style,

with

in

a

one represent-

ing these plants disposed

seventeen

in

mouths, with fourteen

a special kind of basket

five

blossoms.

a fancy bronze vase, and

three

by

a rou^/i style

in

more fimshed

lines,

siigiiested

floral

elaboration In

bination

m

of arrangement

and^

and refer to of

sirfc/iint-ss.

Plate

form

finished

with,

described

positions

flow,

^

'l"hcsc

style.

correspond

ranged

Principal

iiifermcdinry style, and

tlie

as

are

marked A.

additional

composifor

the

namelj",

;

essential,

lined composition.

Trunk: and the

seasons.

of

styles

recognized

roit^/i

and

the special

to

diflcrent

at

tion

tions

VERS.

which are

added at discretion, to avoid bareness, and others, arc merely auxiliary and

if.

j^Towth

the

J

D, E, F, G. corresponding

B. C,

of

clusters,

principal flo

is

tlic

''K--

other showing

blossoms illustrated

in in

all.

Fig.

a

triple

v-

design

in

a

A

ron^A arrangement of

9.

page 6.

bamboo tlieso

vas

flowe

ARRANGEMENT OF NUPHAR jAPOmCUM. The Nitphar japor water-plant

for

flnr.d

design

accoimt of

arranged

in

its

beautiful oval leaves,

Sand-basim and

Tubs,

is

the

a favounte

Horse-tub

(r"

fp

PRACTICAL EXAMPLES. by

being

are

j;enerally

grows

curled

arranged

as

shallow

combined

a

in

pools; such

more this

are

at

long

single

so

as

small

vessel

with

half

smaller leaf

into

fixed leaning to

is

allied the

The

side,

is

is

removed

usual

from

in

the

consist of a single flower

a

Plate

LIX.a.

Well-buckets,

a

long

the

Stn-amer.

which

kept as

reference to

in

single

composition,

and

large

the

to

tlie

stems,

their

of a

flourish

sliort

arc

which

plant

and

less

in

Though

the

more

consisting

these,

;

of the design

Itraf

;

for

broad

much two

a

bud

of

Tertiary

employed, placed higher

is

a somewhat

Si-iominty.

the

Ti-rtiary, a small rolled ieaf.^tcchnically

for the

main

when arranged

plant

water- vessels

composition

and one small

being

Another

is

than

this

is

a young bent leaf

which should be only about an inch above the water snrfacc.

leaf,

chosen

may be seen such a clematis

of

llowcrs

a design

in

Seldom

is

shallow

and placed

as. possible

position

them.

curled

slightly

left

right

Poitbh'-wcll-bitckds arc often

In

purposely

with the leaves, their

slender stems of this

it

fuslener ot

The stems

lotus.

impression

added below the Principal, and beneath

IValcr-toiichiiis^-lcaf,

and

width,

—

the

the

on

horizontally

those of

convey

fancy

open blossoms, are grouped between the Pyincipal and

and extending

called the Horn-leaf^

hang

plant

like

other

suggest the idea of greater depth.

comparison

For the Principal, a the rest,

tliis

to

other water-plants

being

plants

introduced

and one or two

of

edges

possible

and the leaves are arranged

or three are

than

leaves

131

some

or

This rule becomes specially important when the nuphar

to

in

Horses-bit.

tl,c

their

as

water.

deep-water

centrally

plant

studied,

largest

gracefully

in

and

selected,

The

employed.

meuil

and

preference

illustration,

flowers,

as

by the

kept very short as

for

into (Plate

and

large Sand-basin with a high group of bamboos.

secontlary

a of

siiace

show a

above

introduce

deficiency

clump

a few inches. if

in

at tlie

This

may

just sprouting from the

arrangements of the Nuphar japonicniii. in the

composition

introduced

disposed with seven leaves and two

to

the

LX.n.), in

lower of a pair of suspended

upper one,

Plate

in

a hanging style, with

shows the same water-plant

XLIX.a.

it

is

combined

in

a

ARRANGEMENT OF FLOWERS.

!

ARRANGEMENT OF KERRIA yAPONICA. This modest plant, with the banks of rivers, and

Wc panying

Fig.

illustration.

represents a composition

with

the

Kerria

Sand-basitt,

suggest

cylinders

work of

grows

the scenery of the

in

abund

Tama-uawa

33,

made

to

by long

held

bamboo

made

the

long sprays of yellow blossoms,

river-scenery.

are

of

its

specially associated with

a broad

in

intended

such

The stems

is

The

Kit

in

basketimitation

ya-kago.

huge

or

baskets holding boulders which are used to break the current

of

rapid

are

streams.

added

to

Stones

comjilete

the

idea of the natural view.

The also

IS

Eoals.

Kcrriit

frequently

suspended

in

the

jajiomm .arranged

receptacles

stems

and

having

a

leaning character given them with the object of preserving the notion

over and reflected nor

fruit

prohibits

Plate in

^.-ding

into its

XLII.

vases,

Ho,-sc.„.l with the

a

stream

cmplojment

and

illustiates

a

usetl

of lloiv

that this plant bears

hanging eithi

wedding ceremonies.

defective

XXXV,

Plate,

H„,;^s4ii

The popular fancy at

as .

-,„d

,

rX,,

7

ilH^

"""'^'="""' "^ '"=

""" """"

'«--

'"^P"''"'

''"

-

ARRANGEMENT OF NARCISSUS FLOWERS t

Spring

important plao

tloral

ear

arrangements during the Winter

when other blossoming

plants are

PRACTICAL EXAMPLES. scarce,

sweet

scent,

in

and of golden

colour,

Varieties of red. white, pale blue, and double b white, which

seen

in

and

are

is

floral

used

om.

in

much

The blade-shaped

greater

these rare specimens are seldom leaves of this plant receive chief attention,

number than the

sheath, and are separately pressed and rubbed on

which the

he.it

of the sun gives

them

in

tlieir

flower-artist,

but with the exception of the

exist,

sometimes used on ceremonial

compositions.

33

by the

considerably prized

il

flowers

;

they are removed from the

a board to take

<

natural state, a single curl alone being per-

missible for leaves

employed

The younger

tions.

but the large ones

fingers,

tory and require

Thus

tience.

composi-

in

leaves are

much

easily

with

straightened

smoothed and

the

refrac-

are

labour and pa-

altered they are attached

together in pairs consisting of one long

one short

and

longer

the

with

leaf,

blade in front, or sometimes

triplets,

in

and these bunches arc employed

the

with

.always

flowers

placed between, and

lower than

34 shows

for

arrangement,

different lines of the

the

I'ig.

the leaves.

a narcissus plant pulled

first

and its sheath removed, then method of smoothing the leaves

to pieces

the

out the

the fingers to take

with

and afterwards the way manipulated pairs

the

'" leaves of which the highly in

Fig 36

in

water

and

is

illustr.,ted

=1

are

and fours by mean sheath.

replaced

in

.uc

only

sp.aringly

introduced

into

curl,

which the

connected of saliva

Fig.

combinations different artificial

curled

in

and

35 shows of these

compositions;

and

tmraersn^g tied with paper before a sn.all bunch of leaves with flowers groups of leaves arrangement consisting of combined

also a trilineal completed

flowers.

^'^'---^ given to leaves are shown ; In Fig. 37 different kinds of twists '^ l^eavcs T^fl I, Ti-i> .nc nreferred. li v in a ana

.11-

and those are considered affected and exaggerated, compositions. which curl are chiefly used in hanging u

made

leaves

^l

The

season, being shorter in to vary according to the particular

Igen'ents.

If

the

bLsoms

droop they are

"";"°^'" ''=";/; Winter than m bpnng

lengths of

carefully straightened

and held upr.ght by small

ARRANGEMENT OF FLOWERS. narcissus

,vitli

narcissus in

Plate

shown

is

in

arrangement

double

a

is

illustrated in

Plate LXlV.ii.

of

willow

Plate

composition

a high

in

which the narcissus with

position,

chrysantV

aiu

LI.a.. ant

XLVII.a. may be seen a

bamboo

occupies the

iripl.

vase,

,

ii

centni

plum branches above

aiv

below

ARRANGEMENT OF CHERRY BLOSSOMS.

The cherry blossom, being n

warded as the king of indigenous flower las

precedence of

rangements. lonsidered

It

all

is

prefer-

able to use branches of cherry alone,

blossom

and they are

but rarely combined with other branches, with

rape ;

with

blossoi

to

though they are hardly

be

<

ed ortliodox designs,

It is said that, in

clierry

Though sliould

blossoms,

for

making arrangements with

scissors

must

little

be

not

not strictly followed,

be trimmed and bent as

die composition artificial

the

this rule is

used.

the branches possible,

as

and

must partake more of a natural than an

character.

over-exuberance

In

accordance

in

floral

Avith

designs,

the

the

distaste

cherry

of

flowers,

others for

floral a

PRACTICAL EXAMPLES. small and

single

blossom

is

selected

preference

in

the

to

,35

richer

specimencs of

dovible

blossom.

A

with cherry flowers should

and a few

middle,

in

Several fallen petals should be placed vase,

bloom below.

full

the water of the

in

and any blossoms which have dropped may be

remaining on the flower stand. it

will

be

From

observed that the prevailing

into

the lower branches are the

whicli

bloom.

to

is

for the

wild clierry-trce,

supplies

yama during n,

is

down

in a

season.

composition

a

for certain

shown

is

a

simple

small flower-basket placed

the rivers at Yoshino and Arashi-

cherry

the

illustrated

to burst

intended to suggest the flower-laden

raft,

boats which float

natural

its

first

motive

the

In Fig. 13. page 68,

bunch of blossoms arranged

on a miniature

repre-

scenery of picturesque spots famous

'I'he

compositions.

left

the above rules

idea'

sent the cherry-tree as nearly as possible in state in

sparse arr.inj'e-

li

nt the top of the central line, half-open blos-

the

in

made

composition

ment of buds soms

the weeping cherry placed

in

In

LVI.

at

sprays

of

Plate

made

with

a hooking flower-basket.

ARRANGEMFNT OF PEACH BLOSSOMS. The peach blossom can ceive attention

and

in

Japan

gathered

but their e.vuberant

in

The peach

richness.

for

branches,

the

hardly be said to re-

proportion to

its

tliough

of the

taste

employed

often

flower

half-open

most of the full-blown

blossoms and

of double blossom

In r-baskct.

is

together in

^'

at

with

a,

the

is

it

in

is

are

used chiefly

somewhat too in

flower com-

cuttings are then considerably

masses amongst the

said to

is

shown an

Rosa

a hooking basket.

The

number of

being removed, and only a small

flowers

distributed

left

never emplojcd. as

LW.

Plate

anged alone

buds

floral designs,

in

The peach

artist.

positions during the girls' festival of the third month.

thinned out,

'"'

great beauty

trees in flower form an attractive feature of the Spring landscape.

a

imiiai.

foliage.

The

flower

have poisonous properties.

:

of peach

blo! n,

the peach

ARRANGEMENT OF FLOWERS. ARRANGEMENT OF CAMELLIAS.

ployment

Lns.

and double, are much used

camellia, both single,

vvhite

in

generally

.hough

contbina.ion

odv.

with

in

is

which does not

a prejudice against

fall

to pieces petal

by

petal like other flowers, but

On

said, of a

is

it

Spring

Their e..

m

head struck off with the sword. indigenous to Japan considerable estimation as a tree gestive

for

trees or flowers

d.seussmg w.llow composihas been mentioned conjunction with the willow of a peeuhanty of .ts blossom, the camellia on account

There

.

and

red

Tl,e

arrangements,

drops

ofl-

the other hand,

has

which

been

bod.ly, sugit

is

held

much used

in

for

esteemed as an evergreen. In It is also highly purposes from ancient tin.es. two oval leaves receives the greatest attention designs the disposition of the glossy introduced into the design. be appended to each bud or blossom

various

;

floral

leaves at least must

Sometimes these two leaves point upwards, extending above the flowers; somewhole of the blossom appeart are bent over more horizontally, so that the

they

times

above

The white

them.

The

tions.

camellia,

if

in

favourite kind of composition

season, is

much used

is

one of

five

at

Coming-of-agc celebra-

blossoms and

fifteen

leaves, each

flower or bud being surrounded by three curling leaves.

Examples of designs where

Lll.i!.

shape a

in

:

kind

vases

it

which

specially

the

the

camellia

willow

is

Camellia sasanqna suited

for

camellias,

introduced

may be seen

a suspended bronze vase

in

and

connected with the peach

is

the

called

are

in

combined with

XXV.,\.

Plate

particular

Bamboo

Is

it

is

shown,

narcissus.

arranged

with

those of the Lion s-motith

in

Plate

of crescent

In

Plate

the

Ll.it.

willow.

shape being

selected by preference.

ARRANGEMENT OF CONVOLVUI.I. The limp and glor)-.

are

bamboo

difficult

rods,

to

and the design consists be detected

delicate

arrange

withered

the

stumps, In

radical

stems of creeping plants like the according to or

twigs,

the

lineal

are used

rules of

convolvulus and morning the Flower Art.

Thin

as a basis in forming a composition,

a judicious balancing of leaves, flowers,

and buds, in which can elements of Principal. Secondary, and Tertiary. For the lower

portion of an arrangement, flower buds are preferred to have originated a composition consisting

open blossoms.

Rikiu

Is

said to

simply of one flower and one leaf of the

con-

(^ 1^

Si-^-^--e^S^.^

«^'*«;'''-^4j

.^

s

rr

"

^

-

'

f

,'

r"

'^V'VU,^

PRACTICAL EXAMPLES. which afterwards became a favouri.e decoraUon why h= adopted so modest a design, he

'37

volvul...

m

l,er

(lower

ed

to

wuh one believe

bemg

leaf

that

the

experienced

he maintained, to

sufficient,

difficulty of

lineal balance, ..my may

master was ready to admit.

method of employing the convolvulus long

oval

handle

A

page 58.

of the

plants -..t

The founder

i

in

.

accept.

of the Enshiu School invented

a

by winding the creeper round

Such a composition

convolvulus of three blossoms, placed

tempt-

is

according to the

,u with such . do a departure than the

a Hower-basket.

in

receptacle.

One

for admiration.

call

arranging creeping

have had nave mnro to tr. naci more

.

shown

asW

Upon heing

T.a-roo„.s.

replied that, as it was :„,p„ssible to rivtl nature groupinj;, art.fieial arrangements should be as unassuming as possible: even a single

ed standards of

the

for

is

illustrated in

a standing vase on a

Fig.

6.

Iiigh table

is

Plate LXI.a.

in

ARRANGEMENT OF LESPEDEZA FLOWERS. The for

liny

lespcdoza

designs

floral

a

flowers,

at

full

the principal of the

is

On

season.

this

Seven Plants of Autumn, and

account

of

its

and crowded arrangement of sprays

placed in standing vases a trilincal composition

is

may be composed wild boar

of a

number

with this

The lower

Autumn

preserve

season.

its

plant.

In

special

There

ner.

Such

LIII.ii.

an

is

character

an early specimen called the

of growth,

The

lespedeza

placed is

often

which

receptacles,

bnnches being kept

arrangement,

group

Tcrliary line

in

the

is

Summer

lespedeza

a

crescent-shaped

arranged

in

is

a

vase,

suspended

thitnbergiana.

and the carnation;

Piicraria

called the

Seven Plants of Autumn.

associated In art

lespedeza, and this

Autumn

less profuse

short and disposed in

is

plant,

order

in

than that of the later

employed with a long

simple is

bronze

and quiet

illustrated

boats.

sometimes used with the morning glory, the Eularia japonUa. Valeriana officinalis,

The

as to suggest the profile of a wild boar's head.

hooked or suspended

Sircavtcr, the other

or

of short stems only sparsely supplied with leaves and (lower

manner

should be arranged in a thinner and more open manner than the to

When

followed, each line consisting of a

supposed to sleep beneath the Icspedeza branches, and

is

much used

generally resorted to.

of four or five stems richly loaded with leaves and blossoms.

buds, and curved in such a

is

numerous small oval leaves and is

villosa.

manPlate

in It

is

also

Vakn'ana

making together the combination

ARKANGF.MENr OF FLOWl-KS.

ARRANGEMENT waler-plant

This

the greatest care its

The

withered

The

The

tip.

Summer

lip.

which

in

the background of the design,

Dr.u-siipporliiig'lcaf,

employed

and

curl

arrangements,

having a

Autumn and Winter

in

Sim/t(ni''s-moitt/i-/cava

double

which are

consisting

of two

in

and having a faded

in

The

frost.

position, as

if

designs, and having a curl

the

berries

Wind-proteclmg-leaf, to screen

in

Snrlncy

The Dno-spiUiug-Icaf, downwards.

young leaves lapped together so as

bends over some distance above

them from snow or

according to

of the Principal

front

upwards.

and placed between the larger leaves of the composition.

son,ewhat lower

arranged with

name

;

which occupies the place of the Priiid/^aL or the middle point of Spring-lenf, a young and curled leaf enveloping the central

Cnih-al-hitf,

Aiilumit-U-—- Tz-:-:~z i~

growth must be preserved between these tivo member*

young pn,e be selected or

,r

The SOVE called

the

central

member

three

for

the S,,,, the

W„>,

a plant be chosen for the former, the latter

the highest

is

71,y,„.„fr, like a

S/,i„

the

(if

to the portion of the 5/„V,

" --I

in

above the iunct on the most correct designs,

or soft and pliant

-Iccted

"-'

for

"'""

the S.,.

-

-^

.

but

if,

o„

he oth

The sane kind

o

"

possible.

i.

in

n

«

M

°"'

/

u

,

Itt^^'"

a

i„ eharacter

Much

is

^"'^'

"'

""""'

.^

manipulation

f

is

^

apt

'

°'

ij

,.

°'

t". '"""

°''''"''

Anciently

/

''

'"

,

^fZ'' ^

T

"

!:,

was

it

-''^ "' ""=

'"'S'"

^«".

.Us

"'" '"= ^'>" ^'™''' """' ="*' """=* -'« '"

"'""

:r

""' "'""''

T"

-* *=

'""-'"

™""

«eak and

'"=

.".'f'"^ '" "*"'" '" » P"'"' ^'^"' """'" "^ =''°"' ="-' "

''°""*' "

«/ rTe'Jr""'

cLse'n



'''"'''' ''"" artificial

''

"=

'^'"'-'-

elTect.

The

""-I' >=^°ibuki

r APPENDIX. Ill

arc of powerful line

, light, ,

„,

,„

.,

follows

,t

'"""I'''

™'y

'

f.

.

.ind

^ whe„

l,a.

hang

flowers tend to

,

plants.

f"

*'!i

Purpose as ,u sprays arch sideways, a„J. tliougl, tl,i„ , „r .1, ii_ °' «'" i'V l«'"g of more or less arcl«d character,

The r.iiihn..r "'"™""'"' s„cl,

as the

chry,a„tl,om„„,, l,avi„s heavy blossoms are „sed,

,l,e

downward, this is eonsidered most objeetionable. and several deviee, are keep the blossoms turned upwards. I„ speaking of right and left in a R,U,™ eomposithe terms are applied as ,f the vase of flowers were a person facing the spectator, and are faee

:

employed tion.

to

therefore the reverse of the spectator's ow,. right is

called the right side of the

The UKE opposite to the

serves as the

When

Scjc

and

straight,

S/iiii

two must never he exactly

way between for this

called the

member.

is

The

opposite: with a bent

Some growth

latter

be a

to point

landscape, it

the

is

Mv

OTr

is

also,

if

side

tile

Wv,

on the

contrasts with the

similar

A

nature.

stilT.

the former be len.i!thy, the

somewhat loner than the

and

St,,:

the [/tv should spring from a point half

S/iiii,

and

S/iiii.

it

should curve

ill

a direction

contrasting with the material of the Scye must be

sprig of willow,

a branch

according as the

the direction

in

the is

tlicy destroy

in

ritual

of the

of plum

may

be selected

Duddhist or Shinto.

is

relic or

for

In such

image before which the

The meaning

is

"seen beyond." and

Hearing

horizon.

Mikoshi branch

in

mind

to other lines in

described Later,

with which

as

some form

hand,

Milcaslu generally springs

the design,

it

should

in

floral

diflicult to translate

term

is

being especialh-

contrast

with the

of

.,i

the

cnns.irl

.s,.'.//i./,

terminates sometimes above and sometimes below the

back of the

SUiii.

because

it

branch

in

or at

is

On

this

plants, as It

has

its

of the Mfiyeot:i, to be

uo.r which

level of the is

hill

prospect.

trees, or tall

str.iight

from a point below the origin of the Sinliiu,

and, though arranged more or less centrally, has a slight lateral bend

to the

far-ofl"

young

ri-id.

frequently

supposed to represent a

is

impression of pro.\imity.

an

character— ^oft

the

in

member branches

for this

should .agree

it

composition

Rii-iii'tr

perspective effect, and produce

the desired

the other

that a

m.ay be taken

necessary to .avoid using

called the guardian

is

the

a landscape which suggest distance, such as trees viewed beyond a

proper relation

On

The name

composition.

line of the

fourth

by any single word.

the limit of the

It

member on

lateral,

also have

and pliant OTe;

position of the

Tninuk.-iio-eitit,

made

The MiKosHI intelligibly

heavy.

highest

therefore, that tlK

placed.

is

applied to objects

account

It follows,

a bent

for

S/tia.

If the

Eko-m-ala or

cases, this branch

design

the

supposed to contrast with the S/w,. the

is it.

In flowers arranged for religious purposes, the 67v branch has a mysterious meaning and

the f/iv. is

not

generally placed on what

is

side of the illustration.

left

the top of the vase and the divergence of the

contrary to the curve of the

used

The Soy.

left.

and heavy, the Uiv should

large

is

powerfull Soj:c calls

should be comparatively short.

latter

the

the

the Soj,.

character with

in

though

principal,

Whereas

Scj,,.

contrary, should accord

and

appearina on the

S/,i,i.

or ci-o-iked, light or it

is

placed.

The

of considerable length,

in the direction of the

Seishin.

Occasionally

Uh. it

is

the most important of those branches

which spring form the back of the composition.

The NACAsm in

is

the

lowest

lateral

a sweeping form, arching, dipping, and again

rising a

a composition. little at

the

It

spreads to one side

extremity.

Ihe end must

FLOWERS OF JAPAN.

IV never droop, and

it

composition. should come somewhat forivard in the

The Nagashi

springs from

about half way between the latter a point about three inches above tlie mouth of the vase, being its bowed form commences, and the origin of the Ut,. and must always have a slight stilt before It ought to be the lowest branch so as to produce a powerful line expressive of vigorous growth.

Ukt,

important that the two should not terminate exactly one vertically above the other.

is

it

two should

.nlso

together with

Any

Soyt, and then

growth adapted to the

"smoke

receiver,"

occasions

is

made

to

contrast with the latter, instead of with the Vkc.

long sweeping form particular line

this

names having

may

required is

called the

MyWEOKI r.ither

occupies a front position

than

that of a line.

low down

material with a tendency to spread forward must be selected.

The Rhodea japomca

though frequenty used

often

is

other parts of a

in

AfityeoK and the funkia and nupliar character of this member, which

tion.

In the most formal style

A

lateral

sketchiest treatment, in

censer

the

N,ig;