Ikebana

Shōkaarrangement by the 40th headmasterIkenobōSenjō, drawing from theSōka Hyakkiby theShijō school,1820

Ikebanaflower arrangement in atokonoma(alcove), in front of akakemono(hanging scroll)

Ikebana(Sinh け hoa,Hoạt け hoa,'arranging flowers'or'making flowers alive')is theJapanese artofflower arrangement.It is also known askadō(Hoa đạo,'way of flowers').The origin of ikebana can be traced back to the ancient Japanese custom of erecting evergreen trees and decorating them with flowers as yorishiro (Y đại) to invite the gods.

Later, flower arrangements were instead used to adorn thetokonoma(alcove) of a traditional Japanese home.

Ikebanais counted as one of the three classical Japanese arts of refinement, along withkōdōfor incense appreciation andchadōfor tea and the tea ceremony.

Etymology

The termikebanacomes from the combination of the Japaneseikeru(Sinh ける,'to arrange (flowers), have life, be living')andhana(Hoa,'flower').Possible translations include'giving life to flowers'and'arranging flowers'.

History

A drawing ofmitsu-gusoku,from theSenden-shō(15th–18th century)

Illustration from theKaō irai no Kadensho,believed to be the oldest extant manuscript ofikebanateaching, dating from a time shortly after that of Ikenobō Senkei. It shows various arranging styles oftatebana(ogibana) wide-mouth (right) and upright styles.

Ikebanaarrangement with cart, at theKyoto State Guest House

The pastime of viewing plants and appreciating flowers throughout the four seasons was established in Japan early on through the aristocracy.Wakapoetry anthologies such as theMan'yōshūandKokin Wakashūfrom theHeian period(794–1185) included many poems on the topic of flowers.With the introduction ofBuddhism,offering flowers at Buddhist altars became common. Although the lotus is widely used in India where Buddhism originated, in Japan other native flowers for each season were selected for this purpose.

For a long time the art of flower arranging had no meaning, and functioned as merely the placing in vases the flowers to be used as temple offerings and before ancestral shrines, without system or meaningful structure. The first flower arrangements were composed using a system were known asshin-no-hana,meaning'central flower arrangement'.A huge branch of pine or cryptomeria stood in the middle, with three or five seasonable flowers placed around it. These branches and stems were put in vases in upright positions without attempting artificial curves. Generally symmetrical in form, these arrangements appeared in religious pictures in the 14thcentury, as the first attempt to represent natural scenery. The large tree in the centre represented distant scenery, plum or cherry blossoms middle distance, and little flowering plants the foreground. The lines of these arrangements were known as centre and sub-centre.

Later on, among other types of Buddhist offering, placingmitsu-gusokubecame popular in theKamakura(1185–1333) andNanboku-chō periods(1336–1392).Various Buddhist scriptures have been named after flowers such as theKegon-kyo(Flower Garland Sutra) andHokke-kyo(Lotus Sutra). TheChōjū-jinbutsu-giga('Scroll of Frolicking Animals and Humans') depicts lotus being offered by a monkey in front of a frog mimicking the Buddha.

With the development of theshoin-zukuriarchitectural style starting in theMuromachi period(1336–1573),kakemono(scroll pictures) and containers could be suitable displayed as art objects in theoshiita,a precursor to thetokonomaalcove, and thechigaidana,two-levelled shelves. Also displayed in these spaces were flower arrangements in vases that influenced the interior decorations, which became simpler and more exquisite over time.This style of decoration was calledzashiki kazari(Tọa phu sức).The set of three ceremonial objects at the Buddhist altar calledmitsugusokuconsisted of candles lit in holders, a censer, and flowers in a vase. The flowers in the vase were arranged in the earliest style calledtatebanaortatehana(Lập hoa,'standing flowers'),and were composed ofshin (motoki)andshitakusa.Recent historical research now indicates that the practice oftatebanaderived from a combination of belief systems, including Buddhist, and the Shintoyorishirobelief is most likely the origin of the Japanese practice of modernikebana.Together, they form the basis for the original, purely Japanese derivation of the practice ofikebana.

The art of flower arranging developed with many schools only coming into existence at the end of the 15thcentury following a period of the civil war. The eighthshōgun,Ashikaga Yoshimasa(1436–1490), was a patron of the arts and the greatest promoter ofcha-no-yu– tea ceremony – andikebana,flower arrangement. Yoshimasa would later abdicate his position to devote his time to the arts, and developed concepts that would then go on to contribute to the formulation of rules inikebana;one of the most important being that flowers offered on all ceremonial occasions, and placed as offerings before the gods, should not be offered loosely, but should represent time and thought.

Yoshimasa's contemporaries also contributed heavily to the development of flower arranging; the celebrated painterSōami,a friend of Yoshimasa, conceived of the idea of representing the three elements of heaven, humans, and earth, from which grew the principles of arrangements used today in some ikebana schools. It was at Yoshimasa'sSilver Pavilionin Kyoto thatikebanareceived its greatest development, alongside the art of tea ceremony andko-awase,the incense ceremony.

Artists of theKanō school,such asSesshū Tōyō(1420–1506), Sesson,Kanō Masanobu,Kanō Motonobu(1476–1559), and Shugetsu of the 16thcentury, were lovers of nature, andikebanaadvanced a step further in this period beyond a form of temple and room decoration, with greater consideration given to the natural beauty of a floral arrangement. At this time,ikebanawas known asrikka.

During the same time period, another form of flower arranging known asnageirebanawas developed;rikkaandnageirebanaare the two branches into whichikebanahas been divided. Popularity of the two styles vacillated between these two for centuries. In the beginning,rikkawas stiff, formal, and more decorative style, whilenageirebanawas simpler and more natural.

Althoughnageirebanabegan to come into favour in theHigashiyama period,rikkawas still preferred, andnageirebanadid not truly gain popularity until the Momoyama period, about a hundred years after Ashikaga Yoshimasa. It was at this period that tea ceremony reached its highest development and strongly influencedikebana,as a practitioner of tea was most probably also a follower ofikebana.

As a dependent ofrikka,nageirebanabranched off, gaining its independence and its own popularity in the 16thcentury for its freedom of line and natural beauty. Both styles, despite having originated in the Higashiyama period, reflect the time periods in which they gained popularity, withrikkadisplaying the tastes of the Higashiyama period, andnageirebanathe tastes of the Momoyama period.Rikkalost some of its popularity during the Momoyama period, but in the first part of the Edo period (1603–1668) was revived, and became more popular than ever before.In the Higashiyama period,rikkahad been used only as room decorations on ceremonial occasions, but now was followed as a fine art and looked upon as an accomplishment and pastime of the upper classes.Rikkareached its greatest popularity during theGenrokuera.

Ikebanahas always been considered a dignified accomplishment. All of Japan's most celebrated generals notably practised flower arranging, finding that it calmed their minds and made their decisions on the field of action clearer; notable military practitioners includeToyotomi Hideyoshi,one of Japan's most famous generals.

Many works of various schools onikebanawere published in the centuries from theKen'ei(1206–1207) to the Genroku (1668–1704) eras, all founded on Sōami's idea of the three elements. A number of texts documentingikebanaalso existed, though few contained directly instructional content; however, these books were fully illustrated, thus documenting the gradual progress of the art.

During the early Edo period (17th century), publications in Japan developed rapidly. Books aboutikebanawere published in succession. During this time, theSendenshō(Tiên vân sao)was published, the oldest published manual. TheKawari Kaden Hisho(Thế hoa vân bí thư)was published inKanbun1 (1661). This was carefully written and instructiveikebanatext, with rules and principles detailed in full,and was the second publication ofikebanatexts in the Edo period after theSendenshō.Although the text is similar to the contents of commentaries of the Muromachi period, the illustrations showed how to enjoytachibana,which had spread from monks to warriors and further on to townspeople. TheKokon Rikka-shu(Cổ kim lập hoa tập)was the oldest published work onrikkainKanbun12 (1672). TheKokon Rikka-taizen(Cổ kim lập hoa đại toàn),published inTenna3 (1683), was the most famousrikkamanual. TheRikka Imayō Sugata(Lập hoa thời thế trang)came outJōkyō5 (1688).

In the Ken'ei era,rikkawas simple and natural, with no extreme curves in the arrangement, but in the Genroku era, the lines became complicated and the forms pattern-like, following general trends of high artistic development and expression within that period; during the Genroku period, all the fine arts were highly developed, above all pattern-printing for fabrics and decoration. In the latter part of the 17thcentury, Korin, the famous lacquer artist known for his exquisite designs, strongly influencedikebana.In this period, the combination of a pattern or design with lines that followed the natural growth of the plant produced the most pleasing and graceful results.

It was in the latter part of the 17thcentury thatikebanawas most practised and reached its highest degree of perfection as an art. Still, there were occasional departures into unnatural curves and artificial presentation styles that caused a shift, and the more naturalistic style ofnageirebanawas again revived. Until then, only one branch ofikebanahad been taught at a time, following the taste of the day, but now rival teachers in bothrikkaandnageirebanaexisted.

Rikkareached its greatest popularity in the Genroku era. From this time onnageirebanatook the name ofikebana.In theTenmeiera (1781–1789),nageirebana,orikebana,advanced rapidly in favour and developed great beauty of line. The exponents of the art not only studied nature freely, but combined this knowledge with that ofrikka,developing the results ofikebanaeven further.

After the Tenmei era, a formal form of arrangement developed. This form has a fixed rule or model known as "heaven, human, and earth".Is it known asSeika(Sinh hoa).In the Mishō-ryū school, the form is calledKakubana(Cách hoa).

The most popular schools of today, includingIkenobō,Enshū-ryū,andMishō-ryū,amongst others, adhere to some principles, but there are in Tokyo and Kyoto many masters ofikebanawho teach the simpler forms of Ko-ryū, and Ko-Shin-ryū of the Genroku and Tenmei eras.

The oldest international organisation, Ikebana International, was founded in 1956;Princess Takamadois the honorary president.

Practitioners

Woodcutukiyo-eprint byEishiof a lady practicingikebana

Followers and practitioners ofikebana,also referred to askadō,are known askadōka(Hoa đạo gia).Akadōteacher is calledsensei(Tiên sinh).

Noted Japanese practitioners includeJunichi Kakizaki,Mokichi Okada,andYuki Tsuji.At a March 2015TEDxinShimizu, Shizuoka,Tsuji elaborated on the relationship ofikebanato beauty.

After the2011 earthquake and tsunamidevastated Japan, notedikebanapractitioner Toshiro Kawase began posting images of his arrangements online every day in a project called "One Day, One Flower."

Another practitioner is the Hollywood actressMarcia Gay Harden,who started when she was living in Japan as a child,and has published a book onikebanawith her own works.Her mother, Beverly Harden, was a practitioner of the Sōgetsu school.She later became also president of the Ikebana International Washington, DC chapter.

Schools

Mary Averill (1913) gives an overview of the numerous schools ofikebana.A school is normally headed by aniemoto,oftentimes passed down within a family from one generation to the next.The oldest of these schools,Ikenobōgoes back to the 8th century (Heian period). This school marks its beginnings from the construction of theRokkaku-dōin Kyoto, the second oldest Buddhist temple in Japan, built in 587 byPrince Shōtoku,who had camped near a pond in what is now central Kyoto, and enshrined a small statue of her.

During the 13thcentury, Ono-no-Imoko, an official state emissary, brought the practice of placing Buddhist flowers on an altar from China. He became a priest at the temple and spent the rest of his days practising flower arranging. The original priests of the temple lived by the side of the pond, for which the Japanese word isike(Trì),and the wordbō(Phường),meaning priest, connected by the possessive particleno(の),gives the wordIkenobō(Trì phường,'priest of the lake').The name 'Ikenobō', granted by the emperor, became attached to the priests there who specialised in altar arrangements.

Ikenobō is the only school that does not have the ending-ryūin its name, as it is considered the original school. The first systematised classical styles, includingrikka,started in the middle of the 15thcentury. The first students and teachers were Ikenobō Buddhist priests and members of the Buddhist community. As time passed, other schools emerged, styles changed, andikebanabecame a custom among the whole of Japanese society.

• Ikenobō(Trì phường)is a development ofrikkaand considered the oldest school
• Shōgetsudo Ko-ryū – originated by the monkMyōe(1171–1231)
• Ko-ryū(Cổ lưu)– originated by Ōun Hoshi or Matsune Ishiro (1333–1402)
• Higashiyama Jishō-in-ryū(Đông sơn ngân các viện lưu)– originated byshōgunAshikaga Yoshimasa(1436–1490), who was also called Higashiyama-dono or Jishō-in. Branches of this school are:
  • Senzan-ryū
  • Higashiyama-Ko-Sei-ryū
  • Higashiyama-ryū(Đông sơn lưu)
  • Sōami-ryū(Tương a di lưu)
• Senke-Ko-ryū – originated by the famous tea masterSen no Rikyūin 1520
• Bisho-ryū – originated by Goto Daigakunokami or Bishokui Dokaku in 1545
• Enshū-ryū(Viễn châu lưu)– originated by LordKobori Enshū(1579–1647). The branches of this school are numerous:
  • Nihonbashi Enshū-ryū
  • Shin Enshū-ryū
  • Ango Enshū-ryū
  • Miyako Enshū-ryū
  • Seifu Enshū-ryū
  • Asakusa Enshū-ryū, as well as many others.
• Ko-Shin-ryū – originated by Shin-tetsu-sai, who was the teacher ofshōgunTokugawa Hidetada(1579–1632)
• Sekishu-ryū – originated by Katagiri Iwaminokami Sadamasa (1604–1673)
• Jikei-ryū – originated by Shōuken Jikei in the year 1699
• Senkei-ryū – founded around 1669 by Senkei Tomiharunoki
• Tōgen-Ryu – commenced by Togensai Masayasu about 1716
  • Sōgensai
  • Murakumo-ryū
  • Tōko-ryū
  • Shikishima-ryū
  • Dōnin-ryū
• Gengi-ryū – commenced by Chiba Ryōboku in the year 1772
• Mishō-ryū(Vị sinh lưu)– founded by Ippo Mishōsai (1761–1824) inOsaka
• Yōshin Go-ryū – developed during theEdo period
• Sei-ryū – commenced by Dōseiken Ittoku in 1818
• Shōko-ryū – commenced by Hakusuisai in the year 1896
• Ohara-ryū(Tiểu nguyên lưu)– founded in 1895 by Ohara Unshin
• Sōgetsu-ryū(Thảo nguyệt lưu)– founded in 1927 by Teshigahara Sofu
• Saga Go-ryū(Tha nga ngự lưu)– founded in the 1930s with roots dating back toEmperor Saga,who reigned from 809 to 823 CE
• Ichiyō(Nhất diệp)– founded in 1937

Other schools includeBanmi Shōfū-ryū(Vãn mỹ sinh phong lưu),founded in 1962 by Bessie "Yoneko Banmi" Fooks, and Kaden-ryū(Hoa vân lưu),founded by Kikuto Sakagawa in 1987 based on the Ikenobō school.

Theory

Since flower arrangement (Chinese:Sáp hoa;pinyin:chāhuā) arrived in Japan from China together with Buddhism, it was naturally imbued with Buddhist philosophy. The Buddhist desire to preserve life lies at the root of much ofikebanapractice, and has created most of the rules of flower arrangement, controlling also the shapes of the flower vases, formed as to help to prolong the life of the flowers.Consideration of the vase as being something more than a mere holder of the flowers is also an important consideration. The surface of the water is always exposed, alongside the surface of the earth from which the grouping of flowers springs. This aids in creating the effect of representing a complete plant growing as nearly as possible in its natural conditions.

More than simply putting flowers in a container,ikebanais a disciplined art form in which nature and humanity are brought together. Contrary to the idea of a particoloured or multicoloured arrangement of blossoms,ikebanaoften emphasises other areas of the plant, such as its stems and leaves, and puts emphasis onshape,line,andform.Thoughikebanais an expression of creativity, certain rules govern its form, such as the idea of good and evil fortune in the selection of material and form of the arrangement.

The concept ofhanakotoba(Hoa ngôn diệp)is the Japanese form of thelanguage of flowers,wherein plants are given specific coded meanings, varying based on the colour of the flowers, the presence of thorns within the height of tall plants, the combination of flowers used in garlands and the different types of flowers themselves, amongst other factors. For instance, the colours of some flowers are considered unlucky. Red flowers, which are used at funerals, are undesirable for their morbid connotations, but also because red is supposed to suggest the red flames of a fire. An odd number of flowers is lucky, while even numbers are unlucky and therefore undesirable, and never used in flower arrangements. With odd numbers, symmetry and equal balance is avoided, a feature actually seldom found in nature, and which from the Japanese standpoint is never attractive in art of any description. These create a specific impression of nature, and convey the artist's intention behind each arrangement is shown through a piece's colour combinations, natural shapes, graceful lines, and the implied emotional meaning of the arrangement without the use of words. All flower arrangements given as gifts are given with the flowers in bud, so that the person to whom they are sent may have the pleasure of seeing them open, in contrast to the Western idea of flower arrangements, where the flowers are already in bloom before being given.

There is no occasion which cannot be suggested by the manner in which the flowers are arranged.For instance, leaving home can be announced by an unusual arrangement of flowers; auspicious materials, such as willow branches, are used to indicate hopes for a long and happy life, and are particularly used for arrangements used to mark a parting, with the length of the branch signifying a safe return from a long journey, particularly if a branch is made to form a complete circle.For a house-warming, white flowers are used, as they suggest water to quench a fire; traditional Japanese homes, being made almost exclusively of wood, were particularly susceptible to fire, with everything but the roof being flammable. To celebrate an inheritance, all kinds of evergreen plants or chrysanthemums may be used, or any flowers which are long-lived, to convey the idea that the wealth or possessions may remain forever.There are also appropriate arrangements for sad occasions. A flower arrangement made to mark a death is typically constructed of white flowers, with some dead leaves and branches, arranged to express peace.

Another common but not exclusive aspect present inikebanais the employment ofminimalism.Some arrangements may consist of only a minimal number of blooms interspersed among stalks and leaves. The structure of some Japanese flower arrangements is based on ascalene triangledelineated by three main points, usually twigs, considered in some schools to symboliseheaven,human,andearth,orsun,moon,andearth.Use of these terms is limited to certain schools and is not customary in more traditional schools. A notable exception is the traditionalrikkaform, which follows other precepts. The container can be a key element of the composition, and various styles of pottery may be used in their construction. In some schools, the container is only regarded as a vessel to hold water, and should be subordinate to the arrangement.

The seasons are also expressed in flower arrangements, with flowers grouped differently according to the time of the year. For example, in March, when high winds prevail, the unusual curves of the branches convey the impression of strong winds. In summer, low, broad flower receptacles are used, where the visually predominant water produces a cooler and more refreshing arrangement than those of upright vases.

The spiritual aspect ofikebanais considered very important to its practitioners. Some practitioners feel silence is needed while constructing a flower arrangement, while others feel this is not necessary, though both sides commonly agree that flower arranging is a time to appreciate aspects of nature commonly overlooked in daily life. It is believed that practice of flower arranging leads a person to become more patient and tolerant of differences in nature and in life, providing relaxation in mind, body, and soul, and allowing a person to identify with beauty in all art forms.

Plants play an important role in the JapaneseShintoreligion.Yorishiroare objects that divine spirits are summoned to. Evergreen plants such askadomatsuare a traditional decoration of theNew Yearplaced in pairs in front of homes to welcome ancestral spirits orkamiof the harvest.

Styles

Rikkaarrangement by Ikenobō SenkōII, a drawing from theRikka-no-Shidai Kyūjūsanpei-ari,Important Cultural Property

Ikebanain the beginning was very simple, constructed from only a very few stems of flowers and evergreen branches. This first form ofikebanawas calledkuge(Cung hoa).Patterns and styles evolved, and by the late 15thcentury arrangements were common enough to be appreciated by ordinary people and not only by the imperial family and its retainers, styles ofikebanahaving changed during that time, transforming the practice into an art form with fixed instructions. Books were written about the art,Sedenshobeing the oldest of these, covering the years 1443 to 1536.Ikebanabecame a major part of traditional festivals, and exhibitions were occasionally held.

The first styles were characterised by a tall, upright central stem accompanied by two shorter stems. During theMomoyama period,1560–1600, a number of splendid castles were constructed, with noblemen and royal retainers making large, decorativerikkafloral arrangements that were considered appropriate decoration for castles. Many beautifulikebanaarrangements were used as decoration for castles during the Momoyama period, and were also used for celebratory reasons.

• Therikka(Lập hoa,'standing flowers');style was developed as a Buddhist expression of the beauty of landscapes in nature. Key to this style are nine branches that represent elements of nature.One ofrikkaarrangement styles is calledsuna-no-mono(Sa の vật,'sand arrangement').

When the tea ceremony emerged, another style was introduced for tea ceremony rooms calledchabana.This style is the opposite of the Momoyama style and emphasises rustic simplicity.Chabanais not considered a style ofikebanabut is separate. The simplicity ofchabanain turn helped create thenageirebanaor'thrown-in'style.

• Nageirebana(Đầu nhập hoa,'thrown-in flowers')is a non-structured design which led to the development of theseikaorshokastyle. It is characterised by a tight bundle of stems that form a triangular three-branched asymmetrical arrangement that was considered classic. It is also known by the short formnageire.
• Seika(Sinh hoa,'pure flowers')style consists of only three main parts, known in some schools asten('heaven'),chi('earth'), andjin('human'). It is a simple style that is designed to show the beauty and uniqueness of the plant itself. Formalisation of thenageirestyle for use in the Japanese alcove resulted in the formalshokastyle.
• Inmoribana(Thịnh hoa,'piled-up flowers'),flowers are arranged in a shallow vase orsuiban,compote vessel, or basket, and secured on akenzanor pointed needle holders, also known as metal frogs.
• In thejiyūka(Tự do hoa,'free flowers')style, creative design of flower arranging is emphasised, with any material permissible for use, including non-flower materials. In the 20th century, with the advent ofmodernism,the three schools ofikebanapartially gave way to what is commonly known in Japan as "Free Style".
• Kyoto Ikebana artist Hayato Nishiyama says he enjoys designs with just a single flower, "to help people concentrate, to help them focus on seeing the beauty of an individual."

Gallery

• 
  Traditionalshōka
• 
  Nageireof theBanmi Shofu-ryūschool
• 
  Moribana kōseitai (hidarigatte)of theSaga Goryūschool
• 
  Jiyūkafreestyle arrangement

Vessels

Woven bamboo flower basket (hanakago), byLiving National TreasureHayakawa Shōkosai V

The receptacles used in flower arranging come in a large variety. They are traditionally considered not only beautiful in form, material, and design but are made to suit the use to which they will be put, so that a flower can always be placed in an appropriate receptacle, and probably in one especially designed for that particular sort of flower.

The thing the Japanese most seek in a vase's shape is what will best prolong the life of flowers. For this reason, vases are wide open at the mouth, for, unlike in Western flower arranging, they do not depend upon the vase itself to hold flowers in position, believing that the oxygen entering through the neck opening is as necessary to the plant as the oxygen it receives directly from the water; thus, the water remains sweet much longer than in small-necked vases.

Hanging Moon and Hooked Vase

Incoming or Boat of Good Fortune and Standard Arrangement

There are many ideas connected with these receptacles. For instance, hanging vases came into use through the idea that flowers presented by an esteemed friend should not be placed where they could be looked down upon, so they were raised and hung. In hanging bamboo vases, the large, round surface on top is supposed to represent the moon, and the hole for the nail a star. The cut, or opening, below the top is calledfukumuki,the'wind drawing through a place'.

Besides offering variety in the form of receptacles, the low, flat vases, more used in summer than winter, make it possible to arrange plants of bulbous and water growth in natural positions.

As for the colour of the vases, the soft pastel shades are common, and bronze vases are especially popular. To the Japanese, the colour bronze seems most like mother earth, and therefore best suited to enhance the beauty of flowers.

Bamboo, in its simplicity of line and neutral colour, makes a charming vase, but one of solid bamboo is not practical in some countries outside of Japan, where the dryness of the weather causes it to split. Baskets made from bamboo reeds, with their soft brown shades, provide a pleasing contrast to the varied tints of the flowers, and are practical in any climate.

Not to be overlooked is the tiny hanging vase found in the simple peasant home – some curious root picked up at no cost and fashioned into a shape suitable to hold a single flower or vine. Such vases can be made with little effort by anyone and can find place nearly anywhere.

In popular culture

• Ikebanais taught in schools. It has also featured inmanga,animeand been shown on television.
• InMagic-kyun! Renaissance,the main character Aigasaki Kohana practicesikebana,just like her mother before her.
• TheshōjomangaZig Zagfocuses on a boy named Takaaki Asakura (nicknamed "Taiyou" (the sun)) and his affection for flowers.
• InGirls und Panzerone of the main protagonists Isuzu Hana's central theme and hobby isikebana.She combines her passion for it with tanks. A limited special edition vase in the shape of a tank was made by aKasama warekiln that was seen in the anime.
• In 1957 the film director and grand master of theSōgetsu-ryūschool of IkebanaHiroshi Teshigaharamade the movie titledIkebana,which describes his school.
• Flower and Sword,released in 2017, tells the story of the development ofikebanaduring theSengoku periodin the 16thcentury. Directed byTetsuo Shinohara,it was based on a novel by Tadashi Onitsuka.Masters and their assistants of the Ikenobō school were involved in creating the variousrikka,shoka,andsuna-no-monoarrangements for the movie.

See also

• Birth flower
• Floral design
• Flower frog/Kenzan
• Language of flowers
• Plant symbolism
• Wabi-sabi

Further reading

• Averill, Mary (1913).Japanese Flower Arrangement.New York: John Lane Company.
• Conder, Josiah (1899).The Floral Art of Japan.Tokyo: Kelly and Walsh, Ltd.
• Ember, M., & Ember, C. R. (2001).Countries and their Cultures.New York Pearson Education, Inc. Retrieved 30 July 2008, from NetLibrary (UMUC Database).
• Ingelaere-Brandt, Mit; Van Moerbeke, Katrien (2015).Poetical Ikebana.Oostkamp: Stichting Kunstboek.ISBN978-9058565198.
• Kubo, Keiko (2006).Keiko's Ikebana: A Contemporary Approach to the Traditional Japanese Art of Flower Arranging.North Clarendon: Tuttle Publishing.ISBN978-0-8048-3651-7.
• Leaman, Oliver,ed. (2013)."Archived copy".Encyclopedia of Asian Philosophy.London and New York: Taylor & Francis Routledge.ISBN978-0-415-86253-0.Archived fromthe originalon 23 September 2018.Retrieved30 July2008.
• Ohi, Minobu;Ikenobō, Sen'ei;Ohara, Hōun;Teshigahara, Sōfu(1996).Steere, William C.(ed.).Flower Arrangement: The Ikebana Way.Tokyo: Shufunotomo.ISBN978-4079700818.
• Okakura, Kakuzō(1906)."Flowers".The Illustrated Book of Tea.London and New York: G. P. Putnam's Sons.
• Satō, Shōzō(1968).The Art of Arranging Flowers: A Complete Guide to Japanese Ikebana.New York:Harry N. Abrams.ISBN978-0-8109-0194-0.
• Zamperini Pucci, Evi (1973). Davidson, Georgie (ed.).Japanese Flower Arranging.London: Orbis Book.ISBN978-0-85613-139-4.

External links

• Ikebana International
• Ikebana Wiki