What is nageire?

What is the Flower arrangement procedure?

1. Characteristics Historical Development Fundemental Principles of Arrangements Line Drawing of arrangement layout Ikebana, the Japanese word for flower arrangement, is based upon certain principles of art which are recognized the world over. The love of line so characteristic of all Oriental art rather than the appreciation of form and color is perhaps the most salient feature in differentiating Japanese flower arrangement from all others. The arrangement is linear in composition, consisting of the most commonplace branch material. However, if this branch material is arranged in a beautiful flowing line, it is preferred to a group of blossoms, no matter how beautiful the latter may be in color and form. Equally as strong as the emphasis on linear perfection is the teaching of naturalism, an insistence on understanding the natural growth of the material used and a love of nature in all her phases. At its inception thirteen centuries ago, Ikebana was designed to symbolize certain Japanese philosophical concepts of Buddhism. However, with the progress of time, the complete Japanization of flower arrangement and its adaptation to the peculiar genius of the Japanese people, much of the religious connotation was lost and the teaching of naturalism emphasized. The symbolism of the passage of time is of importance in Japanese flower arrangement and is evident to the discerning eye. No arrangement would be acceptable if it did not in some way suggest the time and season as well as the continuing growth of the plant material used. For example: Materials used • The past: full bloom blossoms, pods or dried leaves • The present: half open blossoms or perfect leaves • The future: buds, suggesting future growth Type of arrangement • Spring: vital arrangement with vigorous curves • Summer: full and spreading arrangement • Autumn: sparse and thin arrangement • Winter: dormant and somewhat dreary arrangement. Closely allied to symbolism in flower arrangement is the association of certain flower forms with tradition, literature or custom. Every national holiday has its prescribed arrangement and even the most familiar household celebrations are not complete without their appropriate arrangement. For the joyous New Year celebration, pine and white chrysanthemums are usually used; at the Doll Festival, peach blossoms; and for the Boys' Festival, an iris arrangement is appropriate. In general any Japanese flower arrangement is composed of three triangular groups of flowers or branches. An upright central group; an intermediate group, leaning away from the upright structure; and an inverted triangle group, which leans away from the central group on the opposite side of the intermediate group. The Japanese seldom make an arrangement of flowers without their own natural foliage. Most arrangements consist of a few branches from a tree or bush as well as small "grass flowers" which might naturally grown at the base of a tree. Foreigners not accustomed to this type of floral design often fail to see its natural beauty and wonder why the Japanese make use of such foliage for decoration. The reason for utilizing materials other than flowers is that the Japanese find more beauty in the forms and growth of nature than in their colors. The flowers best liked are those growing naturally in the garden or countryside at the time of arrangement. Full blown flowers or foliage are seldom used; tight buds are preferred. The branches of trees producing large leaves or bushes with an abundance of leaves are not used, except while the leaves are in bud. The reason for this practice is twofold: first, while a branch is still in bud, the beauty of the line of the stem is unobscured; secondly, when the buds are used the observers have the pleasure of seeing them open slowly. On the other hand, when flowers are arranged at the point of perfection, they soon wither and droop, thus expressing only death and dissolution. This idea of conveying continuing growth in life and of expressing vitality is paramount in all Japanese art and should be the principal guide to the foreign student of flower arrangement. 2. Historical Development A. Classical Arrangement In the sixth century floral groupings heretofore unknown began to be seen on both sides of the altars of Buddhist temples which rose all over Japan in subsequent centuries. Rigid and voluminous, in order to be in harmony with the lofty temple building, the "Rikka", meaning "standing up flowers", towered high above their ornate bronze containers which were brought with other temple ornaments from China. The tops of their branches as well as the flowers pointed heavenward to indicate Faith. Though gradually becoming more supple and extending in width instead of in height, the intricate Rikka arrangements continued to be the dominant form of arrangement in temples and in palaces down to the establishment of the Kamakura government at the end of the twelfth century. The Rikka arrangements originated from the concept that flowers should be arranged in such a manner as to represent Shumisen, the sacred mountain of all Buddhist devotees, symbolizing the universe. The Rikka arrangement was often called "a little garden within a house" because, within the flower arrangement, the artist had constructed a miniature landscape. Plant materials are used to represent different natural objects; rocks and stones are symbolized by pine branches; the waters of the river and small streams by white chrysanthemums; sunshine, shade and varying colors of the season are also all expressed by means of well chosen plant settings in their proper places. In the Rikka arrangement, there is always a pine tree, five or six feet in height, arranged in the center of the vase. The tree represents the beauty of the Japanese landscape, since the pine is an indispensable element in sandy seashore scenery or mountain views, especially in the mountain scenery of Kyoto. Next to pine trees, the most important trees both for a garden and for the Rikka style of arrangement are cedars, cypresses and bamboo. The Rikka design, however, has become old fashioned and is now regarded as an antiquated form of floral art. Formerly a befitting decoration for ceremonial or festive occasions, today it has lost its hold upon the people and is therefore rarely followed. B. Naturalistic Arrangement The most significant changes in the development of flower arrangement took place during the fifteenth century when the Ashikaga Shogun, Yoshimasa, ruled Japan (1436-1490). The large buildings and the small houses which he built expressed his love for simplicity. In the small houses were constructed the "Tokonoma," a built-in alcove, intended as a shrine and containing objects of art as well as a flower arrangement. Along with architectural simplifications, Yoshimasa, in collaboration with the artist Somai, simplified the rules for flower arrangement so that all classes of people could enjoy floral compositions of their own making. This new and simpler type of arrangement was called "Seiwa." Another development took place during the Momoyama Period (late 16th Century) with the creation of tea houses, where tea masters gave a more informal expression to their floral composition. For this purpose, a freer style emerged and was called "Nageire," meaning "throw in." This naturalistic arrangement known as Nageire is also made up of three triangular groups in the same relative positions. Whereas in the classical style, the three groups are clamped tightly into a holder and no part of the arrangement is allowed to touch the container, this arrangement permits for much more freedom, and the flowers are allowed to rest on the rim of the container. Nageire emphasizes naturalism, or the ability of the arranger to produce a composition which suggests the natural growth of the flower material used. In this way, the arranger is given an opportunity of expressing his concept of the art. According to this style of floral arrangement, flowers should be arranged in a vase as naturally as possible, no matter what the floral materials may be. Some innovations introduced with the new style of Nageire are firstly, that the stem of each flower stands apart to show its natural growth; secondly, branches and stems are allowed to cross one another, if the natural characteristics of the flowers are enhanced; and thirdly, Nageire attaches great importance to individual parts of the arrangement as well as to the entirety, by, for instance, cutting leaves, branches or even flowers, if necessary to improve the effect of the accomplished whole. The fundamental concept is always emphasized: beauty is to be found wherever there is no artificiality. To find and express natural beauty in whatever is at hand is the end and aim of Nageire, the simple and natural form of flower arrangement. C. Moribana Within the past fifty years, a more recent development has taken place. This style is known as "Moribana," which to some extent shows the influence of contact with the Western world. Moribana, made in low flat containers, adds at least two more triangular groups of flower material but retains the same relative positions and proportions. The stiff artificiality of the formal type of arrangement such as Rikka (which is suitable only for occasions of ceremony) as well as the naturalistic lines of Nageire (used for the decoration of traditional Japanese style homes) were both found unsatisfactory as decoration for the more unconventional European style houses that made their appearance with the opening of Japan to the West in the latter half of the nineteenth century. Moribana combines the formal, artificial Rikka and the naturalistic Nageire about equally, and adds a third element-the suggestion of some landscape and natural scenery in order to convey this scenic effect. Foliage and flowers are used in greater abundance than in the preceding two styles. Moribana is a natural expression, seeking to reproduce in miniature form the appearance of a view or a garden scene. Though the philosophical symbolism of Heaven-Man-Earth is evident, there is not conventionalized compactness in the arrangement or the use of formal vases that are found in the classical styles. The Moribana arrangement can be enjoyed wherever it is placed, whether it be in a chamber, a sitting room, a drawing room or a study. Needless to say, the arrangement should always be in harmony with the room; however, Moribana is one of the very few styles of floral arrangements which can be adapted to both formal and dignified homes as well as to informal surroundings. 3. Fundamental Principles of Arrangement The art of flower arrangement bases its precepts upon line, rhythm and color as the means toward achieving a re-creation of floral growth. Westerners have always emphasized the quantity and colors of the materials, devoting their attention mainly to the beauty of blossoms. The Japanese, however, emphasize the line of the arrangement and have developed the art to include stems, leaves and branches as well as flowers. The underlying principles which make practical the Japanese arrangement of flowers are indicated by three main lines which are symbolic of Heaven, Man and Earth. These form the framework upon which the whole structure of Japanese flower arrangement is built. The most important line is the stem which is symbolic of Heaven and often called Primary or "Shin." It is this stem which forms the central line of the whole arrangement. Therefore one should choose the strongest stem available. Next to the Primary stem is the Secondary or "Soe," which is symbolic of Man. It is placed in such a manner as to give the effect of growing sideways and forward from the center line. It should be approximately two-thirds the height of the Primary stem and inclined toward it. The Tertiary or "Hikae" stem, symbolic of the Earth, is the shortest and is placed to the front or slightly to the opposite side of the roots of the first two. All are fastened securely in a holder to give the effect of growing from one stem. Additional flowers may be added to fill out each arrangement, but it is the correct position of the three principal stems which is of paramount importance. In arranging flowers, one should put the tray containing all the necessary flowers to the right, and the flower vase should be set about two feet in front of the arranger. It is easier to arrange flowers if the vase is near but in order to properly view the flowers while they are being arranged, it is better to place the vase a little far away. Although the container should be situated a little lower than the level of the eye, it is better to have it a little too high than too low, because if the vase is too low, one is apt to look down on the flowers when arranging them and consequently when the arrangement is completed, the effect will be quite different from what was originally intended. It is of primary importance to examine the shape and size of the container in which the flowers are to be arranged before the selection of the flowers is made, since the arrangement depends upon its size, width and depth. After the materials for the arrangement have been chosen, the next step in the procedure is pruning. Most flowers or branches, no matter how shapely or orderly they may have grown, have some superfluous parts, especially when they are used for the purpose of an artistic arrangement. They all therefore need some pruning, a greater part of which should be done before the branches are assembled, the rest being performed while the branches are being arranged. In order to keep the flowers fresh, both physical and chemical devices are now employed. The simplest and easiest of them is Mizukiri, or cutting stems in water. This device will avoid exposing the cut end of the stems to the air, which would cause poor suction of water by the plants. As for chemical methods, a little hydrochloric acid or sulphuric acid, when diluted with some water, will revive and refresh the flowers. An even simpler application of a chemical aid is to take a pinch of salt and rub it into the end of the stems. Flowers and branches should be arranged so that they will be secure and at the same time will have equilibrium. This means that the arrangement must be firmly fixed in the vase. To obtain security and equilibrium, the arranger must make a curve at the "foot" by twisting the stem or branch so as to keep it firmly against the inside surface of the vase. The bending or twisting of a branch should be done very slowly and carefully, the performer using both hands, in order to avoid its being broken.In conclusion, a word of warning must be offered to those who desire to be initiated into the Japanese art of flower arrangement. The rules set by one of the schools do not necessarily apply to the teachings of other schools. Differences of opinion and conception are as many as are the numerous schools of flower arrangement in existence. Nevertheless, the basic principles of the art are carefully preserved, common among all the schools.