Floral Art Of Japan

"Additional outline plates and figures in the text have been introduced as well as new coloured prints from designs expressly made by Ogata Gekko, one of the best living artists of the Popular school" -- Preface Josiah Conder Tokio May, 1899.

First published in 2005. Japanese flower arrangement is much more than an elegant amusement - it is an expression of what the Japanese call furyu - to turn away from strife, and to lose oneself in the joys of peace and nature. It is the opposite of that other key aspect of Japanese culture - Bushido, the way of the warrior. The virtues of Bushido are persistence, fidelity, endurance, bravery and activity - those of furyu are subtlety, gentleness, restraint and repose. That they see no inconsistency or contradiction between these two ways of living is one of the most interesting characteristics of the Japanese people. This volume is a succinct and comprehensive guide to the history, theory and practice of this exquisite art. It explains the three fundamental forms of Japanese flower arrangement - Shin, Gyo and So, as well as the proper arrangement of the tokonoma, the alcove where the flowers are displayed. It explains how one has to 'see' the expressions and emotions in blossoms and branches to achieve the most harmonious combinations, and gives the history of the art going back to the Ashikaga Shogunate, describing the two great classical schools of Japanese flower arrangement - the formal (rikkwa) and the natural (nageire) styles. It also deals with two new schools - the heaven-earthman (ten-chi-jin) and literati (bunjin-ike) styles - concluding with an illustrated chapter on how to arrange flowers. This is a book full of timeless serenity and beauty.

About Japanese style flower arranging, or ikebana.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.