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.,
ARTISTS.

WITH ILLUSTRATIONS BY JAPANESE

Z09

PREFACE.

In

publishing the original edition of this work, the

Author expressed a hope

found

th.it

the Japanese

method of decorating with flowers

might
rules

be

adapted to adorn our

this

Western homes.

He
art

felt

assured that the

;esllietic

governing

Floral Art. though

their appHcatioi

ould, nevertheless, appeal to

ii

Kuropean

principles

close

study
fancy
tint
\vere

of

natural

laws,

and
East.

not

outcome

of
first

apricious
edition
lU'.nA
>

from
art

the

Far

A
all

noticing

the
or

d
\

the

theories

expounded
to

could
tlesign<

in

novelty
it

originalit)

il,<

universally that
li-d

known

[ow.

was

just to

the

appr

inn

i>r

this

r.ict

the present writer.

architect

by

profession,

dcv d
,

buildings.
u-d

furn
false

decoration.

.uir

industrial

.u-b-,

the tendt^nty uf the age

and
Li.ninni.M,
win.
i

and

to follow the

true pi-inci|jles laid

down by

Kuskii

nd odier

,i,

l-

..hers.

If floral

cuttings an to be used in adorning a are

to
their

room, why should

,i|i|,l\

^iniil.ir

art

principles

employment?
method
rule in

Why
at

should

flowers alone be used in

disorderly confusion, whilst order and

brick,

other things?

Working
the

with

stone,

timber,

metal,

paint,

or

plaster,

we aim

expressing

true qualities of the material, both in construction

is

and ornamentation.

Yet when our

use
it

material

the

freshest

and

loveliest

that the earth yields

we

are content to

in

disorderly and expressionless manner.

tion of their natural

Cut flowers, as we arrange them, retain no suggesto

growth or of the landscape

which

they
in

belong.

With

all

our

passion

for floriculture

and

for

masses of

rich

bloom,

we have

Europe never possessed

tree cuttings
floiTil

a Floral Art, properly so-called,

an

art of designing with plant

and

jn such a
Mre. C.

way

as to conventionally copy Nature in her disposal and treatment of

Earle. in her charming

growth.

W.
ing

work

" Pot-pourri

from a Surrey Garden," has expressed her admir-

appreciation of the Japanese

mode

of arranging flowers for embellishing rooms, and has

to

given several

examples showing how such a methoil may hn applied

indications that

English

flowers.

There

are

many

the

study

of

this

I'loral

Art

is

growing abroad, and

tlial

it

will

coiitinui;

to

influence

our

use

of cuttings

for

chanibur

decorations.

The
will
it

writer does not suppose that the style of flower arrangemenLs followed

by the Japanese

ever be adopted complete, with

the land of
its

all

the quaint traditions and subtle ethics that surround

is

in

origin,

but an explanation of these details

desirable in order to

show the
the

ntfioiiak which
lines

evolved

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

upon which a suitable European adaptation may be based.

The above

considerations Lncouratjc

the Author

in issuing

a second and revised

in

edition of his original work.

Additional outline plates and figures

prints from designs expressly

the text have been

introduced,

as

well

as

new coloured
artists

made by Ogata Gekko,

been augmented to

one of the best

living

of the Popular School.

of the work,

The
in

text has

some

extent, partly in the

title

body

and partly
with,

an

appendix.

The somewhat
" Floral

lengthy

of the
"

first

edition has been dispensed

and the abbreviated one

Art of Japan

adopted.

JOSIAH
Tokio, May, 1899.

CONDER.

CONTENTS.

THE FLOWERS OF
Sl-HISG

JA

Fl-OWEKS

SvMaiER Flowers:
AuTisis-

Flowers:

Chrysinthemums The Seven

Planis of

AiHiimn Maples

...
fot

THE ARRANGEMENT OF FLOWERS.

iNTfiClllCTlo.S

Flowfbs

AtcoRniNC

10

THEIR
for

MoKTHS

Ominous

Flowers Flowers

suitable

Felicitous

Occasions
.

Flowers

pro))ibiic<l

Felicilous

Occasions

Appropriale

Combinations

Objectionable Combinations

HlSTORV MiD ThEOBV

LlXEAl.

DlSTRlDUTlOK

Selectjou OF Material

Flower Vessels:

Standing Vases Flower Baskets

Bamboo
in

Vases Hook? il

Vessels

Suspendeil

Vessels

Flower Fastcncre- Choice oT Flower Vessels Water

Sland-s

Vosci

Stonc3
for

and Rocks Flower Trays and

Position

of Flower! in Rooms

CEBKiinMAL
at

AND

Etiquetfk

Flowers

for

ihe

New Year Flowcts

the Five

Feslivals Flowers

nsctl

Pctroiha Is Flowers
of

for

Wedding
i

Festivities Flowers fur Coming-of-age Celebrations- Flowers

for

for

Ceremony

Religions
for

R el rem em Flowers
Sick

Old Age Celebrations Flowers

Shrines

at

Farewell

Gather-

ingsFlowers
Flowers
at

the
for for

F'lowers

before

Ilouseliokt

Flowers

at

Death

Anniversariesfor

Prayers

Rain or Fine Weather

Poclry

Flowers
for

used

at

Moon Vieing Flowere

Stem Ends
Dlossoms

House
'

Warmings
Manipi LATioN

Flowers

Meetings Flowers

Incense

Meetings
of
to prodticc Succulcncy

Treatment of Cuttings before Arranging

Stems and Branches

Treatment
of

Methods of bending
Flowers

Preservation

Heavy
Moss

Painting

of Leaves and
,.

Boirewcil Leaves and Sorroticd /7(nrCTSProducing

:

and

Lichen
Branches

arlilicially

,.

Practical

Examplrs

Arrangement of
of Knc,

Plum Branches Arrangement

of Pine
of

Armngcmcnt
ol

of

Bamboo Combination
of Wislaria

Bamboo, and Plum

of

Arrniigcmenl

Willow Branches

Arrangement
Lotus Flowers

Flowers
of

Arrangement

Arrangement
Ktrria japonka

Chrysanthemums

Irises Arrangement of Arrangement of the

Peonies

Arrangement

^'iip/uir

Jcipoiiiciim

Arrangement
Anangemcnt
of

of Narcissus Flowers of

Arrangement
of of

of Cherry Blossoms

Arrangement of the Arrangement of

Peach

Blossoms

Camellias

Flowers Arrangement
Branches
AppEKDiJi
:

Rhodca

japonka

Arrangement Arrangement

Convolvuli

Leaf Orchid

Arrangement of Lespedai Arrangement of Maple

i

Miscellaneous
style of

Description of the /iiiiv.i

Flower Arrangement Reference

to

the

Uawlio

style

DESCRIPTION OF ILLUSTRATIONS.

COLOURED PLATES.

at
in

Hukojima,
a

Noblcv Gaidcn.

PiATK Flatr

v. Azalias

at

Nczii.
tlic

VI. Viewing

Irises.

Pl\te VII.

Peonies

at

Yotsume,
at

Ilonjo.

I'latr VIII,

Chrysaiithetnums
at
Oji.

Somci.
Miikojima.

liATK
Pi-.uK

IX. Auliimn

Flowers at ihe Hiakka-yen,

X. Maples

Plme XXXVIII, Ja|.an?9e

PtATK XXXI.\. Plate XL,

Inlerior

Arrangement of Spring

Japanese Inlerior: Arrangement ^Japanese Interior: Arrangement of Arrangement Pl,\tk XLI. Japanese Interior:

of Spring Floi
Pconici.
Loitis

rif

Flower,

OUTLINE PLATES.
Plate

XI. Diagram

of J?iUmi

lines.

Plate XII. Straight JfiM'wa Arrangement, Plate XIII,

S/nu
Gin

style,

Straight

JiiMiva Arrangement, liikhfa

style. style.

Plate XIV.~ Straight

Armngemenl,
Shin
Gio

So

Plate XV.
Plait;
Pl,ti:

Bent

Jiikkuvt

Arrangement,

style. stylo.
style.

.\VJ. Bent Rikkm Arrangement,

XVII. Bent

liiHii-a

Arrangement,

So

Plate
Ii.AiK

WlU.RikhtM Stump Arrangement, (Pine, K\iLmiir, Double Slimip Arrangement.

pin

(Pin

Plate

XX. Tfrfftcri

Arrangements on SlicKci.
Krrors.

Platr XXI.
Pt^TB XXir.
I'l-MK

RikktM Diagram of

Lineal

Arranf;emcnt or Flower Stems.

XXdI. Lineal
XXIV.

Arrangement and Cardinal Direction of Stems.

in

Pi.ATK

Plate XXV.
Plate
Pr-ATF-

Diagram showing Errors lo be Avoided Floral Designs. Proper and incorrect Combinntiuns of Trees and Planh.
Tubs,

XXVI. Slanding-vases.
XXVII. I-lovvcr-basins,
and Baskets.

Plath
PrATF.
ri.vTE

XXVin. Vnrions sorts oP Flower-baskets XXlX^Pnmboo Stan ding- vaiC^;.

XXX. Hooking Bamlwo
Vases and miscellaneous Receptacles.

Plate

XXXI

Pillar-tablets

and Flower -stands.

Vessels

Plate XXXII.

Suspended

of Hron7c,

Wood, and Bamboo.

Flor.d

Plath XXXIII. -Various Boat-shaped Receptacles with PuTF.

Designs arranged within,

lines

XXXIV. Boat

shaped

Recepindej of Banibon. showing the principal

nf

Flower

An

Pute
I'L^TK

XXXV DifTcrent
XXXVII. Special

kinds of Flo er-rasiener.;.

of fancy
for

XXXVl Application

Flower-fasleners.

Platr

Slrnclures
.ind ;)nd
,iiid

carrying Floral Arrangements,

Plate Xt.ll

TK-rocnu;

corrected

Arrangcmint of Keiria juponka.

Pl.itf XI. Ill lii.ki.inc

corrected Arrangement of Spircta

canhnkmh.

Plate XL!

V, DcrL'ttut;

corrected Arrnngemcnl of I-caf Orchid.

Plate -\LV. Diagram

illustrating

iri-lineil

Arrangement of Plum Branchej.

in

Plate XLVI. -.\rrangcmenls of Plum Blossoms

Sand-basin and Hooking Basket.

in

Platr XLVII.Arrange.n^cnts of Plum BloBsom. with other Flowers

Plvte

high

Bamboo

Va^e.

XLVI 1. Arrangements
1

of Pine,

and Arrangement of Cabbage

plant.

Plate XLIX.
Plate

Arrangements

of Bamboo.

L Arrangemenu
LII.
I^I I

nf Pine, Plum, and

B.>mboo {Shfchikukii').

Plate L I. -Arrangements of Willow Branches.

Pute
Plate

Flower

Arrangements in suspended Moon-shaped

of
Wistaria in

Vcsigls.

L Arrangements

a Bronze Boat, and of Lcspedcza in a

Crescent-^

Plate LIV. Plate

Pl\tf.

Method of arranging LV. Completed Arrangements

LVI Arrangemcnu
of Fir

Irises.

of Irises
Irise>.

in

Slanding-vases.
ol

with

and

Weeping Cherry

with

Irisc*.

Plate LVII. Plate Plate

Paired Arrangerociil of LVIH. Arrangements of Peony,

MX. Double

Irises,

and

Asters.

singly,

and of Peonies with

Irises.

Well-bucket Arrangcmenl of Clematis,

and hooked Arrangement nf Cleni

Plate LX,

Plate LXf.

ArrangcmenU of Leaf Orchid and of Nuphar jitpunkmii. Arrangements of {^nvolvuli and of Dianlfms
supetr/ms.

Plate LXH.
Plaif.
i'LATE

Arrangement
Arrangements

of Chrysanthemums.
Naw/iiKi ilomeslica
Di\ila

LXIII. .\rrangcments of

and of

Kerri-t Jupon-oi.

LX

v.

of Fiinii'a

and nf

Narcissus.

Platk

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.
:

Vases.

PtATB
Pl.vte

LXVIIt Ikenobo
LXIX. Ikenobo

style:
:

llasin

Arrangements of Flowers.

style

Basin ArrangemenU of Flowers.

IIXL'STRATIONS PRINTEP WITH T!IE TEXT.

Diagram

showing

Veilkiti-lnanslc

Arrangement of Flmver-lincs.

;.

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

Flower-iiili

liQiizonM-triaiigle

Arrangement of Flower-lines,
t,f

containing Arrangement
Howers,
held

Pine.

by a

Fan-f.istener,

^. Well.frame Vase

containing

Ckmlvmlro,,

^quamalum

(Togiri),

(Susuki).

page page

58,

-Hnkf,),- Flo>

isket

niaintng Convolvuli.
ilaining

59. 6c.
61. 65,
6(5.

5'r.S,

Flower- basket

Chrysanihet

FiouRB Figure
Figure
Figure

S, 9,

page
page page page page

10, ii,
ii,

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,
in
iitittiiono,

Figure Figure
FiGiRE
Figure

67.

.\

pair of suspended

boat shaped Vases with

Flower-arrangements.

13. 14, 15,

iCi,

page page
page

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

70.
71. 76.

Inverted Inverted

Umbrella of Bronze, with Camellia,

v<ilh

Rnsh,

and

Ivy.

Flower-cliariot Diagram
of high

Autumn

Plants

and

Grasses.

Figure FiGtHR

page
page

Bronze Bell containing Wistaria and Pine.

17,

78.

showing disposition of Floral Lines

in

upper

and

lower

Bamboo

Vases.
in

Figure Figure

18, 19,

page

81.

Arrangement
for

of lumps of Charcoal

Basin,

with

Flowers.

page

S3, Table
85.

Incense-burner with

Shelf for Flowers below.

FicuBF 20, page Figure 21. page

Arrangement

of Flowers
wiih

in

Hooking Vase with

for

liainvnano

and

si

gi. Flower-basin

surrounding Frame

Creeper.

Utensils and Tools

for

arranging Flowers.
for

Plum-brancli

with

Paper Wrapper
in

Presentation.

Arrangement of
-Arrangement of

Irises

front

of a

picture.

Willotv-iii-wiml in
in

a small

Flower

Da

-.\rrangement of Wistaria,

large

Basin with

Stones.

-Arrangement of Summer Chrysanthemums.

-Method

of using

three

small

Chrj'santhemum sprigs

FlCf

THE

FLO\^'ERS OF JAPAN.
INTRODUCTION.

" Flowere seem intended for the solace o( ordinary humaniiy

cliildren

love
as

them

quiet,

tender,
;

cultivated,

ordinary people

love

ihem

they

grow

luxurious

and

disorderly

people

rejoice in

ihem gathered."John RrsKiv.

fNE
^_

of Uie tjeneral impressions which exist abroad with regard to Japan,

its

is

that of a land

unrivaled in the abundance and beauty of

floral gifts

flowers,

belief that nature has lavished

her

with special favour upon these sunny islands of the Far East.
is

And

in

a great measure

this

popular fancy

justified,

considering

the imposing display of

seasons.

flowering trees and shrubs to be seen near the principal

cities at cei-tain

In the sense,

however, of profusion

in wild floral plants,

it

must be admitted that

certain

Western countries

possess attractions which Japanese scenery can scarcely boast.

The

traveller,

whose

rural

wanderings nearer home have made him familiar with furze and heather-clad moors, flowersprinkled meadows, or
in in
hills

and

forests girdled

and carpeted with blossoming

plants, will

miss

Japan some of these charming adornments of natural landscape.

the year,

There

is

one short season

plant

when the

rice

is

young and green, and the bloom of the honey-scented rape

spreads broad stretches of yellow on the plains,

that recalls to the

mind the

soft

flowering

verdure of other lands

but the rice culture, with

its

endless irrigated terraces, and the high

glen,

bamboo-grass, which covers every uncultivated

hill

and

deprives the scenery of

all

but

a brief and passing suggestion of the colouring of Western meadows and uplands.
lilies,

Tiger

fratillaries,

bluebells,

and numerous other wild

flowers

grow on the

plains

and

downs, buried

in the

high coarse bamboo-grass.

The
ami

comparative scarcity of groups of wild

is,

flowering plants, as a colour feature to the landscape,

for

however, to some extetit made up

by the blossoming

trees, displaying in turn soft

vivid masses of colour

amid the verdant

foliage of the hill-sides.

The

wild camellia, azalia, magnolia, plum, peach, and cherry are the
;

most important of these flowering trees

chiefly to the brightness of the scenery.

the varied flaming tints of the azalia contributing

The blossom

of the wild cherry tree, which abounds in

THE FLOWERS OF JAPAN.

tliis

Vezo. adds to the wooded landscape of

pearly
tint,

Norllieni island an effect as of soft cloi.ds of a pale

which the poets liken to mist upon the mountains.

flower charm as
It is
it

The

exists in

Japan

is

not. as elsewhere, purely

one of

rural or

pastoral associations. national

art.

closely

and inseparably connected with the

is

national customs

and the
in their

The

artistic

character of the Japanese people

most strikingly displayed

taste

methods of interpreting the simpler of natural beauties.

for its satisfaction the

That extravagant

which demands

grand, rare, or novel, and

is little

is

unmoved by the modest

more

attractions of
their chief

more
sym-

familiar surroundings,

shared by the masses of this people,

who bestow

pathies on the humbler aspects of nature.

lias

Though

tlie

majestic scenery of the country

\\\g

served as a constant theme for the painters and poets of the Court and nobility,

popular

art has

always I^een an expression of the daily

life

of the people, and of those simple, natural

its

surroundings, customs,

and

familiar beliefs

which contribute to

enjoyment.

The

recurring

months of the

year,

and

the \'arious duties, pleasures,

and poetic
which

fancies

which custom has assokinds have looked for

ciated with them, form the inexhaustible source from

inspiration.

artists

of

all

The common

flowers of the seasons have been given a prominent place in the

is

fete-day calendar.
cities

Almost every month

known by

its

special blossoms,

and the important

of the numerous
at

have groves and gardens devoted to

their public display.

The

festivals

Shinto deities are celebrated monthly in the different towns by street

choicest specimens of flowering trees

fairs

which the

and plants are exposed

lies

for sale.

The

secret, then, ol

Japan's floral fame and floral enchantment

rather in the care that her people bestow tippn

Nature's simpler gifts than in any transcendent wealth of production.

Treasured chieflJ^Ss

heralds of the seasons, and as inseparable from the favourite pursuits and pastimes of out-door
life,

Japanese flowers are by no means esteemed

in

proportion to
after in tlie

tlieir

scarcity or difticulty of
little

culture,

The

isolated merit of rarity, so

much sought

West, has here

or

no

attraction.

The

native florists are not deficient in

artificial

floricultural

skill,

and produce

in

certain

blossoms forms of considerable

beauty, but the popular taste shows a partiality for the

tradition.

more ordinary and

familiar flowers,

endeared by custom and

Flower

vmving

excursions,

together

with

sucli

pastimes

as

Shell

gathering.

Mushroom

picking, and

Moon

viaving, form the favourite occupations

is

of the holiday seeker

throughout the year.

floral display,

By

a pretty fancy, even the snow-clad landscape

is

regarded as Winter's

and Snow viewing

included as one of the flower festivals of the year.

fitted in

The

Chinese calendar, used formeriy by the Japanese,

of flowers.

admirably with the poetical succession

Ham,

the Japanese Spring,

opened with the

New

Year, which

commenced about

February, and was heralded by the appearance of the Plum blossoms.

SPRING

FLO^^'l:RS.

PLUM HLOSSOMS.
T^vJI

NRICHING

the

])ai-e

landscape with

ils

bloom, and

lilliiiL;

the air with

the

its

iVagrance

ij^ipM at a time

when

the

snow of winter has hardly passed away,

regarded
with
especial fondness
it

blossoming plum

*;.^v^ tree has

'Jf '

come

to be

by the Japanese.
triad,

Combined

witli

the evergreen pine and bamboo,

forms

flora]

called

the S/to-eliiku-

biii,

su]iposed to be expressive of enduring liappiness, and used as a decorative s)'mbol on

felicitous occasions.

many

The plum blossom being

eldest

the

earliest

to

bloom
Quick

in the year, is

often referred to as

" the

brother

of the hundred flowers."

in

seizing

the

peculiar features which

distinguish

one growth from another, to the extent almost of a

tendency to caricature them, the Japanese have been chiefly attracted by the rugged and
angular character of the plum tree,
of buds and blossoms.
its
stiff,

straight shoots,

and

sparse, studded arrangement

trees,

Thus,

fancy

has

arisen for

the

oldest
to

which with
In
if

their
Is

gnarled

trunks

and tender shoots exhibit these

characteristics

jjerfection.

them

shown

the striking contrast of bent, crabbed age, and fresh, vigorous youtli.

As

to render

this ideal
ill

more complete,

it

is

held

that the

plum

tree should

be seen

in

bud rather than

full

blossom.

The gardeners
the

of the country, so clever

for

tl

tr

g
II

re

trees,

find in

plum

a choice

object

their

skill,

imitating o
I

n sn

cilc
t

tl

b fivourite

character
in

of budding youth grafted on to twisted

variety of shapes,

and contorte
spiral,

a^
their

Tl se

ues,

trained

bent, curved,

and even

with

vertical

or drooping grafungs

of different coloured blossom-sprays, fresh, fragrant, and long lasting, form one of the most

charming of room decorations during the

first

months of the year.

Poets and
cherry.

artists

love

to

compare

this

flowering
all

tree

with

its

later

rival,

the

With

the latter, ihcy say, the blossom absorbs

is

interest; whereas, in the case of

:

the

former,
it

attention
is

drawn
is

more
prettier

to

tlie

shape 'of trunk and branches

;

the

cherry
is

blossom,

not denied,

the

and gayer of the two

but

the plum

blossom

THE FLOWERS OF JAPAN.

in

mort chaste and modest

appearance, possessing besides,

its

sweet odour.

Entluisiastic

admiiers of the cherry blossom, however,

in this scentless flower.

go so

far as to

fancy they detect a delicious odour

is

Tlie fragrance of the

plum blossom

constantly referred to in the

short stanzas with which the poetry of the country abounds.

The

following free translation

may be given

as an

example of one of such verses

"In Spring
Uine,

on a cloudless

niglit,

When
O'er

nioon-bcaras Llirow iheir silver

veiling; all

pall

wooded landscape,

In one soft cloud of misty wliiie,

Twere
The plum

vain,

almost, to hope to trace

trees in their lovely

t'is

bloom

Of

argcnl,

their sweet

perfume
to their place."

Alone which leads

me

The

ciistoni

of planting plum trees in groves and avenues to form pleasure resorts

during blossom time, seems to be of comparatively

modern date
for the

and some of the most

fruit.

famous plum groves were originally orchards, planted

that in China, from
first

sake of the

It is

said

whence japan borrowed many of her customs and

its

cults,
it

this tree

was

esteemed
its

for

fruit

alone,

and

in later

and more
earliest

.-esthetic

times

became honoured
read of a single
at

for

i>ure

blossom and sweet scent.

in

In the

Japanese annals

we

plum tree being regularly planted

of
its

front of the

South pavilion of the Palace

limes,

Nara, and
in
its

being replaced by a

cherry

tree

in

later

when

the

latter

had

turn

become the
is

favourite of the Court.

In connection with this Imperial custom,

a pretty story

told

explaining

the origin of the

name 0-shukn-bai,
a favourite species
tenth

or Nighlingale-divelling-plHm'tr^e,
of
delicious

applied, even to the

present day,

to

odour having pink

tree withered, and.

double
as
it

blossom.

Some
tree

time

in the
it.

century the

Imperial plum

was

necessarj' to replace

search was
in

made

for

a specimen
talented

worthy of so high an

honour.

Such a

was found

the garden of the

daughter of a famous poet,

named Kino Tsuiayuki, and was demanded by the

resist the Imperial

officials

of the Court.

Not daring
plum
she
tree,

to

command,

but

full

of grief at parting with her favourite

the

young poetess
following verse

secretly attached to
:

its

trunk

strip

of paper

upon

which

wrote the

Ckiimcd
Can
But

for

our Sovcicign's use,

I've loved

Blossoms

so long,

I in duty fail?
for the nightingale

Seeking' her

home of

song,

How

shall 1 find

excuse? "Brinkley.

mV

u^^

^r^'

^^

PLUM BLOSSOMS AT SUGITA.

FLOWER
This caught
pri;sse(.l,

VIEWING.
plaini
it

tlie

eye of the Emperor, who. touched by the

enquired

from whose garden the tree was taken, and

is

ordered

to

be returned.

The season of the phim blossom

Japanese
the
nightingale
tree
in

made musical with

which

the liquid
is

note of the so-called

{CcUria canlans),
different

for this reason

inseparably associated with

plum

the

decorative

arts.

Such dual combinations, taken from the

motives for designs.

animal and

vegetable

kingdom,

form

favourite

Bamboo

leaves with

Sparrows. Pea-fowl with

with

Peonies, Tigers with Bamboos. Storks with Pine trees,

Wild boar

Autumn

grasses,

and Deer with Maples, may be mentioned as some of these popular

In

later

times

plum

trees

were planted
for

in

large

numbers

at

rural

spots near

to the Imperial capitals, forming ]>leasurc resorts

the

ladies
in

of the Court.

Along the

banks of the river Kizu,

trees

at

place

called

Tsuki-ga-se,

the
miles,

province of Yamato, fine

diffusing
their

of pink
:

and white blossom extend upwards of two

delicious

scent around

they are what remains of quite a forest of plum trees said to have stretch-

ed

for

miles around.

The more modern towns have

sigh-tseers
at
tlie

also

their

favourite

plum orchards,
not
far

visited

by crowds of

blossom time,

in

Februarj',

Sugita, a village
trees,

from Yokoliama, possesses one of

most famous

having over a thousand

in the

many

of of

which are from eighty to a hundred years of age, and which supply
the
fruit

Summer most

consumed
its

in the Eastern Capital, Tokio.

in

It is

popularly
six

known and

frequented on
of tree, dis;

account of

blossoms

the

early

Spring,

and boasts

special

varieties

tinguished by different
principal of

fancy names having reference to the

those

character

of the flower
for

the

which are

of pink and of so-called green blossom,

the

white kinti

has a

faint tinge

of emerald.

In

all.

there are said to

bu

sixty

diflerent

species existing
size
is

in Japan,

The

single

blossom of white or greenish-white colour and of small

the white kinds are scented, but of the

held

most

in

esteem.
is
is

All

red some possess no perfume.

There

an early
of hand-

plum of red and double blossom which blooms before the Winter

solstice,

and

some appearance, but

it

has

little

or no scent.
ti'ces.

The Japanese

include several species of the

yasmiHum

in

the

same category as plum

Every
trees at to
fifty

visitor to

Japan has heard

in the

of the Qiva-rio-bai, or Recumbent-dragon- plum-

Kameido, a famous spot

years ago,

North of Tokio.

At

this

place there existed,

up
Its
it

a rare and

curious

plum

tree

of great

age and contorted shape.

in

branches had bent, ploughing

the

soil,

and forming new roots

to
its

fourteen

places,
it

and

straggled over an extensive area.

Owing

writhing and suggestive shape,

received

THE FLOWERS OF JAPAN,

the

name

of the

Recumbent Dragon,

and. yearly clad willi fresh sliools

and while blossoms

tree, fruit
is

of fine perfume, attracted large crowds of visitors.

From

this

famous
last

said to
it

have been

yearly

presented

to

the

Shogiin.

Succumbing

at

to

extreme age.

has

been replaced by a number of

less

imposing specimens, selected

on

account of their more

inheriting the

or less bent and crawling shapes.

The
of

present group

of plum

trees,

name

though but
in

little

of the character

Recumbent Dragons, makes a

fine

show of blossoms

February, and keeps up the popularity of the resort.

Komurai and Kir

frequented.

Kameido,

also ha'

i-grovc

which

Anolher noted
historically

spot,

is

Komi
often

near

Kawasaki, not

far

from Tokio, which

trees ovi

famous as Iiaving been

)'ears

sited

by the Shogun, and possesses

two hundred

of age.

At

Stiinjuku, another suburb

of Tokio,

is

fine

grove of plum tn

called the Silver-world {Ghi-sekai),

.special

a term applied to the snow-clad landscape, and

to

reference

in

this

instance

the

silver

whiteness

of these

blossoms.

The
Sliihori.

favourite

trees

of

single

blossom

are

eight

in

number

the

Hitoye-ume,
;

Hosoka,

Nishikin,

Kotenbai,

Shidarc,

Suzuri-shidare,

and Tokiwa-shidare
Suzuri-yayc.

and

among

the most prized of double

blossom

are the Shidare-yaye,

Okina-ume.

Beni-suzume.

Yonera, and Hana-gomori.

Other trees such as the Mangetsu, Kaoru-ume,

Momochidori, Tani-no-yuki. and Miyakodori are

known

as the

best

fruit-bearing

kinds of
five miles

plum

tree.

The

illustration,

Plate

I.

represents the plum grove at SugiUi,

about

from Yokohama,

which can be approached from the sea beach.

PHACii blossom:^
v>,UICKLY
[.X^x^t^lie

after the

plum follows the peach blossom which, though by

sharing
it

traditional

esteem and admiration bestowed upon the former, excels

in size,

JT7*^.richness.

and colouring.

These blossoms are of numerous

in

tinLs,

^
in

white,

and

different

shades of pink, and a deep crimson remarkably rich

it

tone.

The peach blossom

to

mass, as

appears

in

groves and orchards, contributes far

more

the

beauty

of the

PLATE

II.

PEACH BLOSSOMS SOKA NO MOMOYAMA.

;

SF.NJU.

,y^'.-'%.^r

FLOWER
Spring landscape than
has not,
its

J7EIF/A-G.

more honoured but severer brother however, had the good fortune to bo patronized by
poets.

the pUim blossom, though

ancient

it

Emperors or
and coming as

extolled
it

by distinguished

Lacking these
classical

essentials to floral greatness,

does

between the plum, of

boast,
it

fame and predilection, and the flashy cherry of

neglected

patriotic

has been

comparatively

by the

artist

and relegated to secondary rank

in

as a decorative moti\'e and material.

The

orchards of peach trees

find

blossom

are, liowevcr,

much frequented by the common people who

colour are to be seen.

enjoyment

at

any spot where bloom and

Plate n. illustrates trees in a grove called

Soka-no-Momojama.

at S^nju. a suburb

CIIHRRV

FiLOSSOMS.

:-sponding with the present April,

is

A.jJ^^the

month

of the
for
its

cherry blossom, the

softness

king

of flowers

in

Japan.
tlie

This flower

is

^^

remarkable

and exuberance, as contrasted with

latter

severe simplicity
in

^^

of the plum blossom.

;

The

blooms
its

fresh, vigorous,
florid richness,
itself
is

and

leafless,

the

bare
cases

and often snow-clad landscape

the former, with

to

cnchanced

in

some

by young reddish
spring-time.

leaves,

is

especially fitted

assert

amid the greenery of budding

But the splendour of the cherry's bloom

transitory in comparison with the

for

more

lasting qualities of the plum,

which retains

its

beauty

full

month.

The

cherrj-

flowers

must be viewed during the few short days of

full

their prime,

and should these days

enthusiastic partizans
its

be stormy, the

glory of the sight

it

is is

lost
all

for a year.

The most
sakura."

of the cherry blossom assert that

cJiaracter,

the

more precious on account of

flowers, the
this
is

transient

"Among
sentiment

men, the samurai, among

patriotic

a familiar saying,
Is

which well expresses the

Japan.

pride

with which

gay

flashy flower

regarded
:

in

The

is

also

conveyed

in the following lines

by one of the national poets

"Shikishima no

Vamalo gokoro wo Hi to low aba

Asalii ni nhvoii

Yamazakura bana."

THE FLO U'ERS OF yAPAN.

Should

"

you ask

me what
in

is

the

true patriotic
air.

spirit,

answer it

is

the

scent

of

the

mountain cherry tree

the morning"

The
abounds
bark to
in

wild cherry seems to have existed

in

Japan

from time immemorial, and

still

the

woods of the Northern

purposes.

island,

Vezo,

where the Aino aborigines apply

tree,

its

many

In ancient times, however, the plum

of Chinese importation,
it

seems to have absorbed the attention of the Court and people, and
that

was
its
is

at

later

date
their

the

cherry,

the

flower
early

of the

country,

appears

to

have

found
there
the

place

in

affections.

Though
earlier

records
the

refer

frequently

to the

plum,
of

no mention of
century.

the

cherry

than

time

of Richiu,
his

an

Emperor
in

fifth

This
lake

Monarch
the

was

disporting

himself with

courtiers

pleasure
trees

boat,

on

of

Royal

park,

when some

petals from

the

wild

cherry

of the

adjoining
is

hills

fluttered into the

wine cup from which he was drinking.

this

This circumstance

said to have

drawn His Majesty's notice to the beauty of

arose
clay

neglected

blossom, and from this time

the
there

custom
is

of

wine

drinking

at

the

a popular saying,
It

time

of cherry viewing.

To

the the

present
sight

"

Without wine
for

who
later
it

can

properly
in

enjoy

of

the

cherry
it

blossom?"

was reserved

Emperor,

the eighth century, to

give

that importance as a national (lower

which
the

has ever since retained.

the

Whilst on a

hunting
attracted

expedition

on

Mount Mikasa,

in

province of Yamato,

Emperor Shoniu.

by the beauty of the double cherry blossoms, composed the following short verse,
sent, with a

which be

branch of the flowers, to his favourite Consort,

Komio Kogo

"

Tltis

gathered cherrj' branch can scarce convey fancy of ihe blossom-laden

in sunlight;
ils

irce.

Blooming
Thoughts of

could

show

il

Tliee,

beauty would drive sleep

awayl"

satisfy the curiosity of the ladies of his Court, the Emperor ordered cherry be planted near the Palace at Nara. and afterwards the custom was continued at each succeeding capital.

To

trees

to

Yamato,

the province
its

in

which were situated several of these ancient

capitals, is

the most noted for

cherry groves, and at a spot called Yoshino a thousand trees line

hill

the path and cover the

side.

It

of tliese trees in blossom

to

mists

has been a favourite fancy to compare the appearance or snow upon the hills ;is in the verse.-" The cherry

blossoms on Mount Yoshino deceive

me

into thinking they are

snow!"

CHERRY BLOSSOMS AT MUKOJIMA

FLOWER

VIEWING.
Hower date back

Imperial garden parties to view the national

as early as the days

of the
b)'

Emperor Saga,
notable

in

the ninth century.

wliose

These ancient court receptions were attended

to

the

literati

amusement was

compose

odes on the flowers.

trees from

In

the

thirteenth century, the

Emperor Kameyama caused a number of

the banks

Yoshino to be
in

planted at Arashiyama, a beautiful hilly spot on

of the rapid river Oi.

the

neighbourhood of Kioto.
after

Here he

built

sumnwr

pavilion, and, in spring

in

and autumn. Court

a verse composed

Court visited the lovely spot, which was rendered further famous
line
:

by one of the Imperial

"

Not second

to

Yoshino,

is

Arashiyama, where die white

its

spray of the torrent sprinkles

the cherry blossoms."

This spot no longer possesses

Imperial pavilion, but remains a favourite resort for sight-seers from the
the

Western

capital, in

months of the cherry and the reddening maple.

rapids,

Numerous
hills

tea houses and booths, on the

the banks of die

give a fine view of the

wooded

opposite, amidst

Spring

greenery of which

may be

seen the pearly white clouds of the cherry blossoms.

Here

the blossom-clad branches form a part of the distant landscape, as

natural

originally beheld in their

earlier

wildness.

when they

first

attracted

the admiration

of the

Emperors,

and

before their

more gorgeous

successors, of double-flower,

became arranged

in artificial

groves

In

and near to the modern

capital,

Tokio. are several spots renowned for their

show
river

of cherry trees, originally brought from Yoshino.

in

and from the banks of the Sakura

first

the
in

province

of Hitachi.

It

is

said that cherry viewing half

became a popular

amusement
time
all

'Vedo

towards

the

latter

of

the

seventeenth

century.

From

that

classes

of the people, from

in

die two-sworded samurai to the small tradesmen

and

menials,

participated

the

enjoyment.
parties

The green sward beneath

all

the

cherry

ti-ecs

was

crowded with merry

picnic
called

of

classes,

screened off with low

is

coloured

curtains.

One
It is

favourite

resort,

Asukayania, at Ojl,

often

spoken of as the uao Yoshino.

side,

a high, grassy

bluff,

overlooking an extensive plain on one

and sloping down to

the road of die Oji village

on the

other.

The eminence forms

a park of cherry trees

extending
white

down

the

precipitous

sides

of the

bank, so that the pedestrian sees the pinky

blossoms against the blue sky above him, and below him the pearly gray of the
in

blossoms

the

shadow of the

cliff.

Koganei, some half day's ride from Tokio.

for seeing the double cherry
in
full

is

perhaps the most attractive

spot

bloom.

Here a

fine

avenue of these flowering trees

extends upwards of two and a half miles along the aqueduct which conveys the water of
the
river

Tama
tlie

to

Tokio.

It

is

said that they

were

first

planted immediately after the

in

completion of

aqutduct, by

command

of the

ShogLin

Yoshimune,

the beginning of

10

THE FLOWERS OF JAPAN.

idea that

the eighteenth centurj-. with the

purities

cherry trees had the virtue of keeping off im-

from water.
tlie

For

this

purpose ten thousand trees were brought firom Yoshino and

;

from the banks of

a few hundred.

nver Sakura

but

the

number now remaining has dwindled

to only

In the old temple

fine trees of the single

grove,

now

a public park, at

Uyeno, there are a number of

early-blossoming kind, called by the Japanese Higan-zahira,

cherry.

among
and

which are some magnificent specimens of the weeping

This

latter species
fruit

has pen;

dant branches, drooping like the willow, and bears single white flowers, but no
this respect
it

in

is

an exception to the general

fruitless.

rule, that

the trees of single blossom bear of the Japanese cherry tree

is.

fruit

whilst those of double blossom are

at
its

The

fruit

however,

best, insipid

and worthless.

These

trees at

Uyeno
hills at

are said to have been planted

by

one of the Tokugawa Regents

size,

in imitation

of the

Yoshino
pale

they are

all

of majestic

and present a gorgeous sight

in

April,

with their

pink

blossoms seen partly

against the blue sky, and partly against the rich foliage of the pines and cedars which sur-

round the golden shrines and cenotaphs

of

the

Shoguns.

The

single-blossom
in

trees

at

Gotcn-yama, a park

in llie

suburb of Shinagawa, form a beautiful sight early

April.

Tlie most jjopular resort in

for

Tokio

is

the

clierry

avenue at Mukqjima, extending

more than a mile along the banks of the

river

Sumida.

Here the

trees

lack

the

grandeur and natural beauty of those at Uj'eno, and have no surrounding foliage to set

them

ofl'";

but they are mostly of double blossom, and bending with their weight of flowers,

looking
spot
is

almost

artificial

in their Iu.\urious fullness,

present
Wine
their

a most imposing sight.

is

This

frequented by the gayest holiday makers.

drinking

considered essential to

a proper enjoyment of the scene, and crowds

wine,

of pedestrians,

bearing their gourds of rice-

make such

resorts

merry and boisterous with

carousals.

Other

visitors,

of a

richer class, indulge in the prospect

of the blossom-laden banks from roofed pleasure boats,

giris.

accompanied often by a gay gathering of singing and dancing

The season of
blown blossoms
not without
their jioetry
its
fall

this

flower
flakes

is

one of high winds, and the

the

soft

petals

of the

full is

like

snow
to

covering

pathways beneath.
of the

This simple
falling

fact

attraction

the Japanese,

who make much

cherry petal in

and other

arts.

"No man
Wlien

so callous but
o'er his
flutf ring

lie

heaves

.i

sigh

head Uie

wiUier'il cherry flowers

Come

down.

Who

knows ?

the Spring's soft show'rs

May

be but

tears

shed by the sorrowing sky."Chamoerlmn.

FLOWER
The
uf the year.
at
cherr).-

17EU7NG.
by the pale
light of the

u
moon, form also

trees in blossom, seen at night

iinothcr great attraction, Yozakiira or

Night Cherry Flowers being included as one of the sights

The

river

banks at Mukojima and even the formal avenues of the Yoshiwara

after sunset,
in

Asakusa arc crowded

the

cherry season.
Plate
III.,

Cherry viewing at Mukojima

un the banks of the Sumida

river

is

illustrated in

which represents

ascending the banks from a pleasure boat.

SUMMER FLOWERS.
\VISTARIA BLOSSOMS.

fNE

o(

tlie
is

earliest

flowers

of

the Japanese
in

Summer which
after

attracts

tlic

pleasure
fallen.

seelcer.

the

wistaria,

blooming
is

May, soon

the

cherry blossom has

This stalwart flowering creeper

walks, bridges, or arbours, in

reared upon large

trellises,

arranged to cover long

pleasure grounds and gardens.

favourite position

is

one sheltering an open

gallery,

which overhangs a lake or stream.

In die precincts of the

popular temple at Kameido, in Tokio. close to the

there
are
wistarias

famous Recumbent Dragon plum trees which hang

in rich

of magnificent
in

size,

bearing blossoms

purple

trails

from two to three feet

length.

Wide

rustic galleries, in connection

with

matted garden
fish,

sheds and
wistaria

galleries,

extend over an
an

artificial

lake

stocked with

gigantic gold

and the

trellises

form

extended
if its

covering

overhead.

belief exists

that this flower

attains great size

and beauty

roots are nourished

specially

with

the

rice-wine

of the country, base of which

various parts

and there
visitors

is,

at

Kameido, a tree producing

to

fine blossoms, at

die
in

are accustomed

empty

their

wine cups.

Fine specimens exist

of Japan, bearing clusters over three feet in length,

at

among which may be mentioned one

Noda,

in

the province of Settsu, called the Ckilosc, or tree of a thousand years.

he

wistaria

of

jjurplc

blossom

is

most

common
is

and

at

the

same lime
This

most esteemed, ranking Iiigher than the white kind, which

is

regarded as abnormal.
in

an exception to the prevailing custom, which places white before other colours
flowers
as associated

blossoms

of the same species, and especially proscribes purple

and, therefore, unfit for felicitous
occasions.

with mourning,
is

In

various

designs

the

pheasant

shown

in

combination with die purple wistaria.

The xIlw of
is

the

wistaria in llower as

enjoyed

in

olden times by ladies of rank

shown

in

Flute IV.

WISTARIA BLOSSOMS IN A NOBLE'S GARDEN.

AZAUAS

IN

TEA HOUSE GARDEN, NEZU.

FLOWER

IVEHVAX

AZALIAS.
^(HE

azalias

commence

to flower about

tlie

same lime

as the wistarias, ami display a

scarlet,

variety of colours of most brilliant

hue numerous

shades of

crimson, orange,
azalia

white,

and magenta unequalled by any other blossom.

on the sides of
artificial hillocks
its

The hardy

are abundantly planted

and on the slopes of

wealth of evergreens
in flower.

a Japanese landscape garden, usually remarkable for

and predominating verdure, never looks gayer than when these bushes are
are several public gardens at Okubo, a village near
entirely with azalia bushes of great size

There

Shinjuku. in Tokio, which are planted

and remarkable age.

These plantations date back

still

to the time of the

visited every

Tokugawa Regents, by whom

of sight-seers.
said to produce to

they were frequented, and tliey are

summer by numbers
man's leg and
azalias
is

One

azalia tree at

Okubo

has a stem as

thick

as

eight thousand
are,

blossoms at a time.

Other

places

where the

may be seen
Koyen,

advantage

Uyeno

Koyen, Uyeno Okeiyen,

Asakusa
Shokayen,
gardens

Koyen,

Shiba

Susaki

Benten-no-sha-nai,

Mukojima Mokubo-ji,
Musashiya,
the
is

Azabu
or

Honjo

Uyebun,

Meguro

Daikokuya,
V,

and

Horikiri

all

parks

in

the vicinity of Tokio,

at

Plate

illustrates

the

azalias in

grounds

of the of

Gongen

shrine

Nedzu,

suburb of Tokio.

In this

enclosure

famous suite

chambers used

for the

Tea Ceremonial and much

patronized by the public.

H^N
-'''

June,

the

ular impular

flower
-

is

the
.

iris

or

flag,
.

which

is

cultivated in large

marehy

(vatered

by a stream, a loop or

THE FLOWERS OF yAPAN.

r th for ,!, iri.; serves as the n,ode scenery of which locality to called "or*.., close nearest ToWo is a spot
, 1 '

S-.^a. ^^ hve, "^f

^^^^

beds of gardens

but the popular

^,,

,, ,

,,

resort

^^^^

J^^^

^^^^
ith

.e fashion to n,a.e ,He flo.e. ,n every

ecn^os

in

pleas^^

summer-houses, from whicli

-^^;*
visitors

_^, can loo

Narrow wooden bridges

^ve

.rther

cu^luu visiton;, whose prctt) with a brilliant throng of

the flowers.

^^^'^^ ^^^ ^^
uiih ihu kinjirisiu

'^:2:^i^^ .-^ ,,Hly ,^^^ J^ owdcd

,,,^

-^anUs. dotted

variegated carpet below,

in
tlie

season

, ,,,

.,h

Th(
darin duck,

pla,

and other water

birds.

Plate VI.
skirts of the city.

shows

tin.

ihcy

may

be

ny places on the

oiit-

PEONIES AND LOTUS I-LO\VERS.

tMONGST summer
sufticicntly

flowers must be noticed the

peony and

lotus,

which, though hardly

democratic to rank
art

among

the most popular flowere, yet play an important

^^^part

in

the

of

tlie

country.

The peony

is

a delicate plant and

is

cultivated

'^

in

long sheltered beds, generally forming the parterre to

its

some adjoining chamber,

it

from which

magnificent blossoms can

be viewed.

In the grounds of the wealthy

is

subjected to scrupulous care and nursing, in order to produce flowers of

fullnes>i.

enormous
is

size

and

often

so large and heavy as to

Is

need

artificial

support.

It

regarded as the
in

flower-queen of China, and

])eony

essentially the favourite of the

this

upper classes

Japan.

The

was

first

imported

into

country in the eighth century, and was then chiefly

cultivated in the provinces of

Yamato and Yamashiro.

tlie

Even now,

the finest specimens in

brought from the neighbourhood of

IS

old capital, Nara.

is

The

largest blossoms

much

as

nine inches across.

it

The peony
is

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

it

prosperity;
is

another fancy name by which

preserve
its

know

is

the

said

to

beauty and freshness for that period of time.

Of

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'i'*^li}.S'-^....*
IRIS BEDS,

NKAR TOKIO,

PEONIES AT YOTSUME, HONJO.

Iffiid'.

^a'ti,1

'^

FLOWER
singfc blossoms

VIEWING.
said to e.ist
in
;

,5

and

called .haknyaku,

Acre arc
public
at

five

hundred

varieties.

Tlie

bclan

may be
at

.nspectcd at

numerous

gardens

Tokio such as the

Hanjitsuyen,

Unsanyen. Gochikuyen and Sendaiyen

Komagome

the Uyebun,

Yokayen, and Teigo-

yen

Honjo
;

Dalkokuya,
is

Azabu.

The slmkuyaiu

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

hikifune-dori

and the Teigoyen at Minami futaba-cho Honjo. white are most valued, purple and yellow specimens, though
e.vuberant flower,
tion.
Its

Among
rare,

colours, the red

and
This

being less prized.

with

its

large curling petals,

is

a favourite subject for design and decora-

companions

in

art are the peacock, the

golden pheasant, and the simlii. a kind

in

ot

conventional lion derived from Chinese designs;

walls,
is

such company
in

it

forms the

constant

decoration of temple and palace

show of peonies
in

the screened and sheltered

beds

in

wllich

they

.are

grown

represented

Plate VII, Liken

from the garilen of

tlie

Uyehan, \'otsume, Honjo,

The
associated in
especially
lotuses.

lotus

is

closely

connected

with

the

Buddhist

religion,

and

is,

therefore,

the

minds of the people with

dedicated
to

spirit-land.

The
are

lakes of temple

grounds,

those

the

water

goddess

Benten,

frequently
fine

planted

with

The

lake Shinobazii at
in

Uyeno

has a

fine display.

The

wide moats of the

in

Tokio Castle abound

the

these

water plants, wliich impart to them considerable beauty

pools and channels of

summer
is

season.

Wherever undisturbed

muddy water

exist,

the

lotus

to

be found, and even the ditches beside the railway connecting Tokio with the
are rendered gay
in

port of

Yokohama
is

the

summer by

the lotus flowers in bloom.

is

As

the peony

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

It is
it

regarded as the national

flower of India, the source and centre of Buddhism,

therefore considered out of place as

is

a decoration for occasions of festivity and rejoicing, but other sacred ceremonie-s.

constantly used for obsequies

for religious
;

and

The

lotus serves as a suitable

theme

contemplation,

and

is

therefore the favourite flower of monastic and temple retreats

in the lakes of the old

the best displays are to

be seen

temple groves of Kioto and other

its

cities.

Growing out of

the muddiest and most sUgnant water,

leaves and

flowers
if

are

always fresh and clean

in

although
fertilizers

it

is

particularly sensitive,

and quickly withers

are

brought
purity

contact with any of the

by which other
fifth
is

plants

nourished.

This

which the lotus maintains

it

amid surrounding

mentioned as

one reason

for associating

with a religious
in

life.

well-known book of Buddhist precepts contains

liut

this text

: "

If

thou be born

the

poor

man's hovel,

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

mud!"

The

wliitc

lotus

flower has a

powerful

and sweet perfume,

but

the

red

kind,

though more handsome, produces but

little

scent

There

is

a species called

GoU-llmad-

rm FLOU'l-RS OF 7APAA'.
U,,!.
its

with I. be.ng marked red blossoms

,

yellow lines;
/

deep crimson colour

may

also

be found.

^^^^^

^^^^^

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

f^,,^

^^^^^^^^

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

ilajs. off after five or SIX

"r'r"'Td::*":-^

""-"-^^^^
^^
^j^^

,* Oosea^er

midday.

Tbe

flers. their

broad curlmg surfaces

ponds, and forming a
^^^^^^

.eaves of the lotus are

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

^"^^

^^^^J.

lotus ,^,,ir, ,ffec. in the

In

design

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

.^

^^^,

^^^^^

^^^^_,_.

the lotus. fowl are represented with

AUTUMN FLOWERS.
CHRYSANTHEMUMS.

HE
^^^

clirysanthemum
skill.

is

the principal flower of Autumn, and the triumph of Japanese

in

ffloricultural
"frti
^**' in

Specimens of remarkable variety

the gardens
of the
loses
its

form and colour of blossom

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

i"

nobility.

The

flower of the

chrysanthemum.

most handsome form,

partly

disc-like

character,

and presents a combination

exhibiting
in

of long oval petals,

the
it

extended,

and

partly
in

curling
its

inwards,

contrast

different

tints

of face

and back;

whilst,

most

eccentric

and

artificial

shape,

assumes the character of a confused

mop

of tangled thread-like petals, more curious than

beautiful.

The

florists

aim
tlie

at

producing an extraordinary quantity of blossoms upon one

several hundreds.

stem, reaching often

to

number of
not

The
classified

varieties of

the Japanese

kiku

are

numerous,

including

only

those

species

as

chrysanthemums by

European

botanists, but

many

kinds of Pyrethrum. Aster, and other genera.

It

seems

tliat

the

wild
in

chrysanthemum,
considerable

of small

flower,

has

always been

in-

digenous to Japan, and held

purposes
;

repute from every early

times for

medicinal

in

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

were yearly sent

flower, however,

Court from the Southern provinces.

The

large cultivated
first

said to have
in

been imported from Corea or China and

planted in

Japan

at

Hakata

the

province of Chikuzen.

At

this

time

five

colours

were known,

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

means of

slips

and

cuttings, but

now

the seed

employed, which

is

said to give greater variety of blossom.

The chrysanthemum

is

sometimes spoken of by foreign authors as the national

;

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

is

and

this

mis-conception

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

tin;

Imperial

House

Tlie flower has always

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

THE FLOWERS OF 7APAN.

Emperor
Heizei.
in

the ninth century, garden parties

its

were held

In

the

Palace

for

the

purpose of celebrating

blossoming time; just

as.

at

the present

day,

yearly

chry-

santhemum show takes place

in the Imperial grounds.

These ancient celebrations seem to

in

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

drinking Avine. and composing verses

in

upon the beauties of the flowers.

The
every

modern clirysanthemum displays

in

the Palace gardens are more like our

;

own flower-shows
variety,

the social

conventionality

of their arrangements
of shape,
rivalled

but the
in

numerous
open
in

of

imaginable
brilliant

colour and profusion

arranged

long

rustic sheds,

forms a

and im|>osing scene hardly

by any flower-show

the world.

At
and sixty
tliese

recent

display

in

the

Imperial grounds

at

Akasaka there were a hundred

varieties of

blossom exhibited, each bearing a fancy

suggesti\'e
will

name

of

its

own.

Some

of

names are so

poetically

of the

form or colour of the flowers that the

:

enumeration of a few of them

not be out of place

Chi-kin-gi

Terrestrial

Globe a

large globular yt-llow flower.

Silver

Worlda

flower of pure white colour.

flower.

Usit-gasumi

Thin Mist a white

Companions of the

Shadows
Tama-sudar
IlalSH-yitki.

of the

The Screen The

First

of

Moon a white flower. Sun a flower of dull red colour. Gems a flower of orange red colour.
Evening
pure white blossom.
rich red flower.

Snow
of

Ilana-galam.

The Basket

Flowers a
Morning

Kagari-bi

Beacon Light a red flower.

Asa-hi-m-na

Waves
Sky
at

in

the

Sun a

reddish flower.
colour
(pate

Dawn a

flower of cherry-blossom

pink).

Garden Fence-a flower the colour of the wistaria

blos-

som

(lavender colour.)

Dishevelled

Hair

(ii,

in

,,ijj

,,,,,p,__^

^,^,^_.

^^

tangled petals.

Hoshi'dsuki-yo

Starlight

Nigl,t-a white flower.

Hoshi-m-hikari
Kiini-tio-mcg

mm

Stars Brightness-a pale bluish flower.

Blessings of

Viiki-m-ashita

Majesty_a pale pink flower

pearly pink eolour.

Tsuki-m-kasa.
Ogon-no-nishiki

Snowy Morig-a flower of pale Moon s Halo-a flower of orange

red coloiu-

Oolden lirocade-a flower of golden yellow eolour.

PLATE

Mil.

lElSltfe

CHRYSANTHEMUMS AT

SOMEI,

FLOWER

rmiVLVC.

Ogon-nc

^^

THE FLOWERS OF JAPAN.

THE SEVEN PLANTS OF AUTUMN.

Autumn,
led

I^m;

laucity
to

of

important

flowering

trees

and

plants

in

lias

the
in

^^fejapancse

make much

of

certain

simple

plants,

comparatively

insignificant

^^themselves,
been

but gathering importance

out,

and

interest in combination.

As

has already
special

pointed

almost every month of

the

year

is

associated

with a
to

blossom, and the calendar would therefore

flowers of the late

not be complete
plants

without a reference

these

Autumn.

These seven

are

the lespedeza. the morning glory,

qfficiiialis.
is

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

VaUriana
of

the

Pucraria thunor bush

carnation.

Perhaps the favourite

these

the

lespedeza,

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

flowers.

Growing wild on grassy moors,

together with

it

is

associated with wild horses, deer,

in

and the
is

wild

boar,

which

it

is

often
time,

depicted

various

designs.

The deer
Autumn

specially associated with the

Autumn

and represented

also with other

flowers
in

and with the reddening maple.

Hiak-hua-ycii,
or

The seven Autumn

show

plants

are

grown together

the

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

The temple grounds

flowers.

of the of

Hagi-dera, near Kameido,

various

famous

for

their

of lespedeza
in

Displays

kinds

of convolvuli

or morning glories,
also
to

trained

pots

over skeleton framework

representing rusuc structures, are

Iriya.

be seen at the various gardener's nurseries at

before

one of the suburbs of Tokio, by those enthusiastic enough to reach the spot
on an Autumn morning.
like

six o'clock

Fancy

flowers, less than half

an inch

in size, in clusters,

and shaped
last

a butterfly orchid, and other strange varieties,

may be

seen.

Within the

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

they

may be observed

before

many

dwellings in the city on quaintly designed frames.

Plate IX. illustrates the seven plants of

Autumn

as

grown

in

the Hiak-kuia-ycn at

Mukojima.

AUTUMN FLOWERS, AT THE HIAKKA

YEN. MUKOJIMA.

FLOU'IiR IVEir/XG.

?/^V ^(^^ mention

^JS^
'"*'
o^'''^'"

^*^^^^^

^^

*''^

^^^'

festivals

of the

yc:ir

as

observed

in

Japan ckniancU some

of

of the maple,

for the
is

reddening leaf of the maple,

in

like tlie foliage

many
of the

blossomless trees,

regarded as a flower
trees,

Japan.

The

rich

tints

changing leaves of certain deciduous

shrubs such as the
azalia,

hardly

distinguishable from the colouring

of blossoming

form a favourite object of attraction during the

is

Autumn

montlis.

The

native term momiji. which

commonly

translated maple,

is,

strictly

speaking, a general
itself,

name

applied to

many

trees which redden in the Fall.

Of

the maple

there are

many

varieties, distinguished botli

by the form of

their leaves

and the tone

group of such

of their

changing colour.
trees, placed

No

garden

is

considered complete
hill

wittiout

its

reddening

beside

some

artificial

towards the West, to receive additional

splendour from the setting sun.

the object of bringing into
natural

They

are planted

on grassy slopes and

in valleys,
in

with
the
at

one limited prospect the red and golden

hills

tints

which
river

scenery of the
in

wooded
the

abounds.
for

The grand

slopes above

the

Oi

Arashi-yama, noted

Spring time

their

show of cherry blossoms, present a

fine

display of scarlet maple foliage in the

Autumn.

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

Tokio,
diere

the

whole
size.

plain of

are

some magnificent maple

Yamato,

trees,
is

noted

for

their

enormous

spot

called Tatsuta, in the province of

renowned

for its fine

specimens, which line the

banks of the

river,

and are

in

full

glory about the end of October.

hills

At

Oji,

a suburb of

Toliio, the slopes of

trees,

a natural glen between the

are planted with thick masses of these

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

of the foliage in well

burning splendour
vicinity

may be

enjoyed.

Shinagawa and Meguro, other

known

spots in

the

of the capital,

have also good groups of maples which

are pastimes which accom-

attract

many

sight-seers.

Picnicking and

mushroom gathering

pany the viewing of the maple.

In the

poems and

pictures

of the country the maple

is

associated with deer.

"How
Amid

full

of sorrow seems

llic

Autumn! when,

In solilary rambles slowly straying,

llic

russet (oliage of the glcn,

I listen to tlie

lonely slog's sad baying,"

22

THE FLOU-ERS OF JAPAX.

Tlie famous

view of maples
distance

in tlic

ylen called Taki-no-f,'ana

at

Oji

is

given

in

Plate

X.
of

In
tlie

the

may

be

seen

the rustic sheds from which visitors enjoy the

is

prosjjL-cl

scarlet folia^'c. whilst in the

foreground

shown a

girl

reading

some

of the

verses attached to the lower branches of the trees.

MAPLES AT

OJI.

ARRANGEMENT OE

FLO\\TRS.

INTRODUCTION.
WFmiTH
^^^
whatever
to
tions.

the Japanese, the arrangement of cut

^^'MW become

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

methods of

composition have the appearance merely of haphazard combinaall

The

bouquet, wreath, and garland,

depending

for their

beauty upon the

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

more austere and open compositions of

art.

the Japanese which belong entirely

a different phase of

The

fact

that

many

of the most charming

it

flowers of the
to

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

in

would be

difiicult

arrange

closed and rounded masses,

;

may

in

some manner
Is,

explain the open lineal character given

to floral designs

the

same treatment

however, equally applied to flowering plants and

grasses which would lend themselves

far

more

easily to the

European method of grouping.

flower arrangements
floral nature.

The reason

for

the peculiarity of treatment noticeable in these

may

rather be sought in the Japanese

manner of observing and enjoying

Where-

as the Western amateur

devotes his attention

to

mainly to the blossoms, the Japanese lover

of flowers extends his admiration

every striking feature of the plant or tree producing

witli
its

them.

The rugged

nature of the plum trunk,

straight, stiff shoots, or the graceful

sweep of the branches of the weeping

cherry, are to

him inseparably associated with any

lines of

beauty which the blossoms themselves possess.

The

branch and stem, the form

all

and

different surfaces of leaves,

all
is

and the

distribution

of buds

and blossoms,
It

receive an
said
that

equal share of attention and

the art under
consideration

play their allotted parts in designs.

may be

based upon a representation, more or

for

less

conventional, of
to

floral growth ; and.

principally

this reason,

the

compositions are

made

assume an
all

open character
and

in

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

clearly

individually expressed.

24

ARRANGEMENT OF FLOWERS.
The
of floral arrangevernacular term liam. translatable as fltmvr. has, in the art
signification than its nearest

ment, a

much wider

English equivalent.

Among

the so-called

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

and

trees,

some of these holding very high

occupy a very important place
its

floral

rank.

The

pine and bamboo, for e.xample, both

in

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

reddening leaves

is

used as one of the principal fimocrs of Autumn.

In the
view.

choice

of material,

seasonableness

is

one of the principal points kept

is

in

The

laxurious taste for choiceness, as implying rarity,

diametrically opposed to the

after their

rules of the art

are. with

under consideration.

Flowers blooming before or

Japanese
floral

proper season
designs

very

fe%v e.\ceptions. rejected for

compositions,
year.

such

being

in
in

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

April blossoms,

used

any other month, would ap|5ear to the

clothing

flower-artist
It

as incongruous and out of place as

naturally

winter

worn

in

summer-time.

therefore

follows

that

proper
of

cultivation of tlie floral art

all

demands a thorough acquaintance with the nature and growth

;

trees

and plants employed

and, in the case of those

common

to several months, a close

observation
flag or
iris,

of the varj'ing characteristics of the

for

same

plant during different seasons.

The

example, which

is

common

to
its

different

months of Spring, Summer, and

diflireiit

Autumn, has a peculiar bend and

Its

vitality in

leaves,
its

and a
;

length and vigour in

distinctions arc
all

flower stems,

during the v.vious periods of

this flower is

growth

and these

ke])t in

view when

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

made between ordinary

plants

land plants,

forest
""''

plants,

mountain plants and water

celt Is
The
compositions
plants,

"*' '"''

'"''

"""

^'"'

'""

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

in

Me kin
"'
'l

botanist, as well as rare foreig^

floL^

the

-.

t^,

i.

.ohibited, unless the artist has

"^Z tr""''"

previously

made

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

INTRODUCTION.
the
natural
it,

25

characteristics
tlie

of such

flowers.

As om: exponent
tlic

of the art

has

quaintly
for

expressed

artist

must be tlioroughly imbued widi a sympathetic

and weaknesses of the members of
till

feeling

the

character, habits, virtues,

floral

kingdom from which

for

he seeks

his

material,

he possesses almost the same

love

and tenderness

their

qualities as for those of living beings.

Preliminary

to

study

of Japanese

Floral

Art

it

is

necessary

to

have some
in

acquaintance with the principal flowers employed.

These flowers are enumerated

die

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

In consequence
It
first

of such a classification

many

flowers
to

common
old

to several

months are repeated.

the

must be
month.

remembered

that according

the

calendar the

commencement of

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

was
all

about thirty days

calendar has
laid
ai-e

The

adoption in
the

late

years of the

Gregorian
the

therefore rendered

it

impossible to conform at

present

day to

loiles

down

for the selection of flowers for special occasions.

Such uf the old fete-days as

in

now
as
to

observed, are pushed back one month or more

appropriate
for

time,

and the flowers

or recourse
is

originally to

fi.\ed

their

celebration

are often

unavailable,

has

be
to

made
the

premature or forced
calendar, existing

specimens.
the whole

The

following

classification

according

old

when

theory of the art in question was established.

FLOWERS ACCORDING TO THEIR MONTHS

(OLD CALENDAR).

les in

Ihe following

lisi

of (low

distinguishing signs arc placed :

planls

which

termed Lwing Flowers, being particularly characlcrisl

el's

are

much

prized for felicitous

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.

in

the

J Indicates what are

called

P.med

Flotvers.
late

and

star
i
,

termed

Dead

Flowers.

These

namcj have
months.

reference lo

flowers

which are
is

or passed in
for

belonging properly lo earlier

The

use

of such flowers
lo

forbidden
or to

most

cerei

There

exists

also

the

term

Viilgar Flotvcrs,

applied

wild

plants,

ihose

of very cc
is

which possess no fancy name

experienced

and the cmploymenl of flowers included under

professors of
the art.

this

head

not permitted except in the hands of ihe n

The

use of cereals

is

also to

be avoided.

FIRST

MONTH (PRESENT FEBRUARY).

Chimonanthus

tra grans

FLOWERS .4CC0RDIXG TO THEIR MONTHS.

SECOND MONTH (PRESENT MARCH).

tSuivo

Crraalinnii s

THIRD MONTH (PRESENT

APRIL).
hotanic

JAPANESE Name,

ARRANGEMENT OF FLOWERS.

KifiI

fKodcmn

FOURTfl

MONTH

(PRF.qENT MAY).

Hanku',

Cypnpctl.ununacanthnim

FLOIVERS ACCORDING TO THEIR MOiXTHS.

FIFTH

MONTH

(PRF^F.NT JUNE).

ITcacn

MRAmEMmr of flou-ers.

llypcrrcuni crecli

Alijmn pbuilago

SEVENTH MONTH (PRESENT AUGUST).

JKolione

trugan

FLOWERS ACCORDim TO THEIR

MO.\i

KIGIITU

MONTH

(PRliSKNT SErTKMBER).

tSu.uki

lOmtoyclu

tK,,,,

tUkon
Torikabulo

ARRAKGEMENT OF FLOWERS.
OCTOBER). NINTH MONTH (PRESENT

JOn.i

TtNTIl
JAIANESE NAJIE.
LoiANICAI. NaJIL

MONTH (PRESENT NOVEMBER),

iTsmvabuii

Scotcio

Umpfc

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

tlie

choice of flowers, especicertain flowering

when employed
and
trees

as decorations for occasions of rejoicing

and there are

in
tlieJr roots,

plants

reputed to possess poisonous properties

stems, leaves, or

blossoms, which are objected to at

any time,
list

their

employment being considered unlucky

:

The

following

is

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
i

all

poMcrfi.l odour are considered Howcrs l^mR a

A.ong

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

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

As most

of

tl,ese

found

enumerated

in

the

complete tables

already given, the following classification

abbreviated, merely
botanical

grvmg the Japanese names

only
in

and the corresponding name

popular
equivalent
e.v!sts.

in
It

English,

names being prmted

that
this

where
all

no

may
or,

be
i(

observed
different

hst

includes

twentyclassed

four .species

of plants

and

trees,

species

of the

same gam-a

be

together, the

number of

specially

honoured flowers becomes reduced to fifteen

FLOWERS SUITABLE FOR FELICITOUS OCCASIONS.

FIRST

MONTH (PRESENT

ri-BRMRV).

FOURTH MONTH (PRESENT M.W).

SKCOND MONTH (PRESDXT

M.VRCH).

FIFTH

MONTH (PRESENT

JUNIC).

THIRD IONTH

(PRESENI- Al'UH.).

^^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

J.\NU.\RV),

NIN'J'II

MONTH (PRESENT UCIOBEK)

TJie following nf

list

of (lowers,
is

the

use of which

is

prohibited for special

to

ceremony or congratulation,

arranged without regard to the montlis

is

which they

belong.
to
for

The employment
particular

of such flowers

deprecated at any season, without reference

any
their

month, unless no other flowers can possibly be obtained.

are

The
is

reasons
to the

rejection

not always very clearly defined

occasionally to

sometimes the objection

property,

form, sometimes to the colour,

some supposed poisonous

and often

what seems

little

more than

traditional

supers'^'

or caprice.

It

is
:

not surprising,

these objections ,..frc. to f.nd

d,sregardecl

by certain masters

;rs

felicitous occasions. prohibited for

Ranking highest
considered as

in

the above

list

of felicitous flowers,

the following
(

par

excelUncs tliose for ceremonies and congratulatory

Tlie
;

Kiku, or Chrys.int]icmuin,
its

lo

which

is

given the fancy

all

name
:

Chojii-s

Uug-laslin^ Plant, on account of

growing through

the four

The
S^XfS, a

Suisen. or Narcissus,

calletl

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

in

llie

Twi

name given

to this linwer because

the

Winter and

lasts

till

the Spr

of the following year.

FLOWERS ACCORDING TO THEIR MONTHS.

The
because there
J/,>V,
,s

Plan,.
air.

or

Maple,

rancifuUy
it

called

M,^,.s,
all

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

a popular superstition that

absorbs

poisou and infection from the

The Sakura.

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

The

Bolan. or Tree Peony, fancifully

named FM-s.ua, meaning PUnt

queen of flowers
in

of

Wealth

and High Rank.

The peony

is

said to be the

China,

The Omolo.
cold, its leal

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

unafii-ctcd

by heat or

The
beca
imer.

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

it

tlic

Two

Seasons.

appearing between the third and fourth months,

belongs both to Spring and

occasions,
this

Though much honoured and used

at

for
its

felicitous

the

wisteria

must

be

employed

weddings on account of

purple

hue,

being associated with

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

also

takes

high rank, but on account of

its

purple colour, like the wistaria,

it

is

prohibited for wedding

I-Iitherto attention

li,as

been directed to the

of esteem in which

principal flowering plants

and trees of

the country, and to the degree

ally

they are individually regarded, especicompositions consist of combinations

in

with reference to particular months.

or
is

Many

floral

of two

more
best

different

kinds

of growth.
the

The manner

which different species are

combined

explained

when

whole theory of the Japanese methods of arrangeBut, apart from the

ment
are

is

discussed in a later chapter.

prejudices
in in

manner of grouping them, there

of material

certain

favour

of and against different combinations

which

require

mention

the

present conte-xt.
;

The

following

is

list

of a few of the suitable

and unsuitable combinations of flowers

ArPROPRIATF. COHIiIN;\TIONS,

MiRANGEMESr OF FLOWERS.
I,

A,!:.o

(Momtat

glory)

OBJECTIOSABLF, COMBINATIONS.

(ICJtl,)

(Po.locin ni

All

of the

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

are

in

bloom during
violating

same

montli.

They

are, therefore,

combinations which are practicable

classified as objection-

\vithout

the rules as to seasonableness.

Those which are

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

Sometimes
other cases,

the objection

is

based upon too close a resemblance

in

form

or

colour

in

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

example, being both

in

flowering trees and

nation.

somewhat

similar

in

character,

are

not considered suitable

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

religious origin.

The

doctrines of Buddha, deprecating as they did the

wanton

sacrifice

of animal
in

life,

are said to have suggested the gathering of flowers

vitality

liable to rapid destruction

a tropical climate, and prolonging their

by

careful preservation.

The

survival of such

a theory

would seem to show that some form of the

faith,

art

was
its

first

introduced into this country

with the adoption of the Buddhist

the Buddhist
spirits,
is

both as a part of

ritual flowers being placed before

for the priests.

and
well

also to provide

a pious pastime
tlirnLi-Ji
t<

The

religion of

Sakya Muni, as

known, reached Japan

mentioned as the
lusi

China
..f

in

the sixth

centiiry,

and

certain Chinese priests are

in

iJi- is

the art of arranging

flowers

Japan.

It

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

priests,

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

accidental, and. at
it

same

time, of a

more extravagant character than those of the

art

as

became

after-

wards modified and developed.

noiegay, being crowded
the
in

They partook more

of the nature of a
in substance

Western bunch or
;

arrangement and miscellaneous

of
later

they also lacked

severe

conventionality

methods.

The

style

of composition

adopted
is

still

survives under the

name

of Rikhca, meaning Erect Flower Arrangement, and

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

in

most elaborate of such compositions.

vertical
in

Branches of blossoming trees or foliage were

;

employed, to form a
disposed

central

mass

and other flowers or bundles of

foliage

were
har-

on either side
.'es

balancing
lines

groups.

The

idea

of imparting graceful and

to the

different

of the composition

was as yet only

partially

devc-

H/STORY AND THEORY.

40
the
later

loped

Unlike
for

and

arrangemenls, , refined flower

this

early

style

was

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

^^^^
of

remarkable
species snecics

the mtxture

"'^.'^"'^
be.ng

of 01

plants p

and

trees

employed

,. '"

e design. '

The
r

chief

lines

composition,

generally seve

number
leai

were formed
.^^^^

of branches
^^^^^^^^^^
.

, of dilTerent

^.

growth,
.^

some of which
character.

were
I

in

luu

^^^

^^^^^^^
,

^.^^^^

Large
to

leaves

r ntlier of other
their

piants niants

r were used at the base or connection of these

>
1

^^^ .

^^^^

various

branches

hide

bareness,

and

careful

attention

was given to the bends

in

to reveal their front f these leaves so as

contrast.

and back surfaces

well balanced

The shape and

attention

disposal of the hollows

principal
lines.

or openings in a floral design received

valley,"

as

much

as

the

Terms such as, "

"grotto,"

and

perspecuve

distance,"

were applied to these openings, the fancy that a natural

landscape

was represented being always kept up.

of the
it

Even
floral

in

this

comparatively ancient development

art,

the

proportion

which the

composition held to the vessel which contained

in all later

was

fixed

by

rule, a practice

which was followed

arrangements,

special branch of the

Rikhaa

style,

which approached to a kind

of thick stubs

of miniature

gardening, was applied to

the ornamental

use

and branches of trees and

water plants arranged

in

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

The

intention of pourtraying
floral

and suggesting landscape, which to the Japanese

is,

is

present

in

every class of

composition,
in

in this particular style,

patent to every observer.

frequently

This
at

kind of arrangement,
present day
in

somewhat degenerate form, may be

seen

the

floral

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

plum, or maple trees being the favourite material.

The

RM'.M

style

possessed

numerous

rules

and

an

elaborate

nomenclature
iUustrate
it

applied to the diflirent the

members of a composition.

Plates
later

XI. to

XXI.

inclusive
styles,

Rikkva

style of flower arrangement.

The

and more popular

which

is

the principal object of this

work

to

expound, adopted, to some extent, similar terms

and

theories in a simplified form.

The more modem development

fancy
for

of the Flor.il

Art was simultaneous with a great

the

ornamental vases of various

kinds,

which sprang up under

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

XII.

STRAIGHT

R!h-ICWA

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

XVI.

HKKWA

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.

4,

Sen no

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.

The arranging
befitting learned

of flowers
lilcrali.

has always been

regarded

in

Japan

as an occupation

men and

and though the

ladies of the aristocracy

have practised

it,

together with other polite

Among

its

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

even famous statesmen who have

retired from public

life.

Mixed up with the theory

quaintness and mystery,
traditional superstitions.
is

of the

art,

and imparting to

it

at first sight

an

air

of

a considerable amount of Chinese philosophy, together with

Ideas of good and
evil

many

luck control both the selection of material

and the manner of arranging flowers

the professors of the
art.

for special occasions.

Various virtues are attributed to

who

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

in

enjoying privileges of rank and precedence

entitled.

society

to

which they

are

not

by

birth

religious

spirit,

self denial, gentleness,

and

forgetfulness of cares, are

some

of

the

excellencies

said to

follow

the

habitual

practice of the art of

for

arrangement of flowers.
tlic

Philosophical

classifications

are resorted to

the

purpose of distinguishing

diflerent
in

parts of floral designs.

styles

Thus

Earth. Heaven, and

Mankind

are

names employed
Earth.
Fire.

some

to

indicate

the

parts of a tri-lineal flower arrangement;

in

Water, Metal,

and

Wood

being used
in

the same

way

to designate the

members

of a five-lined design.
five

Other Schools apply,

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

orders of Japanese versification, or the virtues of the

human

heart.

The

different

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

is

practically

one and the s.ame

art.

Again, the male and

are
It

philosophy female principles so often referred to in Confucian

contrasting forms,
surfaces, or colours in composition.

constantly applied

to

distinguish

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

^,

ARRAKGEMENT OF ELOJfERS.
In natural scener,'.
fi,.,le

a>ure.
,alc

and

cascades,

maU

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

another.
in

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.
proximity feminine.
unless
In
in

like

manner, rocks used

or groups.

in

gardening have no distinguishing

case

sex,

they are

used

pairs

In the

of two

stones
will

of different

character placed side

male,

by

side, the

one of bolder and more vigorous shape

stone.
in

be called the
they are
to

and the other the female

v,t1uc

Curious

as

such

fancies

may

seem,

of considerable

when

applied

the arts of design,

their

observance helping
all

produce that harmony of well balanced contrasts which should pervade

tions.

artistic

composiart.

Nor

are such ideas, indeed, quite foreign to certain

for

branches of Western

In

architecture,

example,

it

is

common

to attribute

mate and female characteristics to the

different oruers of classic architecture.

In

llic

Flor.ll

Art ihc

iilea

of sex

is

applied to contrasting forms,

to different kinds of growth,
is

long and

sliort,

large and small, angular

and round, as well as

and

to various

colours in combinations.
tree
is

When

a fioAvering tree
7\s

used

in

combination with a plant, the

as

considered as male, and the plant

full

female.

With blossoms, buds are regarded

female, of
full

flowers as

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

female; the time

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

A
blue,
is

similar fancy

applied to the different

colours,
red,

surfaces

of leaves and to the different colours of

are

Hewers.

Among

purple, pink,

and variegated hues

is

male;
its

and

yellow, and white female.

leaves,

ae female.

The

front siu-face of a leaf

male, and

under surface

With Howers, the

different

forms of bud and

full

blossom, and in
;

the case of

the two surfaces, lend

at

themselves easily to such distinctions

until

but berries

seem

to

have defeated attempts

sexual classification,

Enshiu,

one of the masters

fruit

of the

Flower Art,

after

observing the bulbul bird pecking at the

of a

tree,

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

attribu'ted

character.

/&

HISTORY AND THEORY.

Beside sex. the
v,{

43

different
is

colours

in

flowers or leaves are said to liave an

order

rank.

Tiiis idea of

rank

applied principally to different colours of the

same

flowers. to

With
tliis

most
rule.

plants

the

wliite

flower takes

highest

rank,

but

there

are

exceptions

The yellow

chrj-santhemuni

takes precedence of those of

first,

any other
rich red

colour.

With peach blossoms, the

of great beauty and

pale pink colour ranks

In

though there exists a

specimen

i-arity.

the case of other flowers the colours taking the highest

;

rank are with

irises,

purple
;

with camellias, red

with wistarias, lavender

;

with peonies, red with kikios.

light

with valerians, yellow

purple
;

with convolvuli, dark blue

with kerrias,

yellow

and with lespedeats, pink.

As
up
after

before mentioned, a

number

o[ different

Schools of Flowtr Arrangement sprang

the

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

The

principal

styles of composition practised

by

these different Schools are

known

as the Ko-Riu, Ikcuobo-

Rill
Rill,

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

and Scizan-Riii.

Sc-iike-Riii,

Yabumuchi-Riit, Kotio-

The

masters of any of these Flower Schools would resent as ignorant

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

special terms, philosophical mysteries,
peculiarities
in the
floral

Each School

lias its

own

and secret degrees, but to enter closely into these

would be almost
religion.

like discussing

some

of the

more

trivial

differences

between

sects

same

Tlie

main

principles of the
art,

art are the

same throughout, and the

designs produced, regarded as works of

are as similar as any desings can possibly

tlie

be.

The

compositions of the Rikkiva and Ikenobo styles are

easily

only ones which present a

In

distinct

character

recognisable

from those

of other styles.

the

present

work
of the

the

Enshiii

style has

been

chiefly followed, this

styles,

being the most

elaborate and one

most

popular

of the

more modern

but

numerous

Illustrations

have been taken

from compositions of other Schools.

The Enshiu

style

was originated by a

retiiiner

of the

Shogun lycyasu.

called

Kobori Totomi no Kami.

He was

a distinguished professor of the

to
is

Tea Ceremonial, and

Compared
wiUi

became teacher of

this

accomplishment

the

Shogun's

heir,

lyemitsu.

some of

the other styles, that of Enshiu

characterized

by a greater degree of

artificiality

or artistic affectation,

and

this

makes

it

specially adapted for the purposes of analysis for

art.

and

a thorough explanation of the principles of the

LINEAL DISTRIBUTION.

X^^N

analysis of Japanese flower arrangements

^^by
line, in

shows
the

that the lines or directions taken

the

different
floral

stems

or

branches

foi-m

basis

of

all

compositions.
in

While
which
in

i^^f European

decorations' are

merely combinations of masses of colour,

part,

blossoms and leaves

alone

play a

those

of Japan

are

syntlittic

designs

which every individual stem, flower, and

leaf stands out distinctly silhoiicltud.

The

treatment employed

may be

likened

somewhat

to the

methods of

distributing'

carved foliage

in architectural panels as followed

during the middle ages in Europe.

The

surface of the water in whicli the flowers are placed

tlie

is

technically

consitlered
tlte

to be the soil from which

floral

growth springs

and the designer must here convey

impression

of stability

and strength.

However good

the upper lines of the composition

life

may

be. a

weak springing
that
in

at the base deprives tliem of

and vigour

for

it

must be
are
to

re-

membered
expressed

not flowers alone are displayed, but

designs.

floral

growth and

vitality

be

tlie

The

direction

of the stems at starting need

all

not be strictly

vertical, but, if curved, the

curves employed should be strong ones, and

weak bends and

angles should be avoided.

As a

composition consists of several main

In

lines, it follows that

there will be several lines of spruighig, or origin,

all

some

cases, the

springing

lines are

united from below the surface of the water to a point

in

some
;

distance above, after which

is

they separate kept

distinct

tangental

curves

in

different

directions

in

other cases, each stem-line

throughout,

being separated from the

others

immediately from the point of

111

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

separation,

studiously avoids an

equal-sided or symmetrical arrangement, but he

obtains

balance

of a

more

subtle

kind,

which

is

at

the

same time productive

is

of a

pleasing variety of form.

in

Balance and harmony without repetition

arts.

a governing principle
cases whert
first
ati

this

as

in

other Japanese

The

lines of

each stem,

or, in

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

^6

ARRANGEMENT OF FLOWERS.
triple

The

arrangement.-by
tlie

vl,ich

is

meant

tliat

governed by

tl.ree

prevailing lines.-raay
A.).

be taken as

original
lines

model

for all

arrangements (see Plate

XXII

The

three

of such

compositions

may

with sufficient fidelity

to

the

more

quaint native nomenclature, be called. Principal. Scmidayy.

the central and longest line of
tlie

and Tertiary.
design, and this
is

The Primipal.
made
to form

as its name implies, is a double curve with the upper and lower extremities nearly vertical and in a continuous
line,

the general shape thus assumed being

half,

tliat

of an archer's bow.

The Secondary should

be about
all

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

to

be

straightened

and these two

lines

are

arranged on different sides of the

Principal

in graceful tlouble

curves of varied character.

As a

general rule, the Sccoftdary

;

has a more vertical, and the

outside of the arched

Tertiary

more

lateral

tendency

the former being on the

bow formed by
According as

the Principal, and the latter

making a counterpoise
left,

on

its

hollow
is

side.

the

hollow

of the

Principal faces right or

the direction

the

arrangement

called a right or left composition.

By changing

and giving a

different character to the curves of these three lines a great

number of designs are produced.

Some

of these arc

shown

in Plate

XXII

u..

the

more

violent curves being favoured

by the

Ettshiji School.

To

produce a

live-lined

arrangement, two addition.il lines are introduced

between
is

the three previously named.

called the Support,

The one placM between

the Principal and the Secondary

is

and
its

that

between the Principal and Tertiary

and
value,

called the Snb-principal.

Tlie

Support,

in

length

approaches
its

more

to

the

Secondary than
in

to

the

Pr,ncifal:

while

the

Sni-principal,

as

name would
In

imply,
this

si^e
it

and

importance

approaches more the Principal than

proper
lineal balance

the

Tertiary.

way,

may be observed a
used to indicate
.

and harmony

is

obtained.

For supposing

figures are
lines to

relative s,^e
..

and mtportance, and supposing the three elementary

lengths and

according .0 their respective

balance

be valued 4
then,

and
a

degrees of importance,
lines,

proper

to

preser've

w,th the addition

of two
'''"'

extra

that

introduced

between'4 an^

' approximate more the dmiensions imte and character of

r:: T'-"
., .1..

"

" *"
,

"''''-"
Tl,

^
j

'-'
i

- -^^^
,

=>^'='

,.
'

.-ing

different intermediary lengths,

:_._
,

so as h,. t., CI, h.,, , cu

.... have ^^L

-i-..^.. '

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

even-li

'^''^

..,ri::r:r::::it;'xr'.i;ri,"-r
the ot f

Ae

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

being

placed^et;'""
members of

"" ''^= "

''*^^

^'''"^

">'

The

different

the above ll,l , hneal arrangements have curious

fancy

LINEAL DISTRIBUTION.
bestowed on them
that of Father,

by the

different

Schools.

For the

triple

style

such classifications as
;

Mofhcr, and

for the five-lined style the

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

Metal.

Wood: and sometimes

Vcllow.

Red. Black,

White, and Blue are employed.

lines in
;

The

Eitshin

School apply the following curious ideas to the different

Skill.

an arrangement,

namely -. The Heart. Help, The Guest,

The Finishing touch

in his

referring to the diflfercnt

lines.

sentiments which should inspire the designer

treatment of the different

This

School maintains that there are three secrets of arranging flowers.

expression and feeling to compositions;
materials,

First, the art

of giving

Second, the art of showing the character of the

,

whether plants or trees

Third, the art of keeping in mind the season

of the arrangement

by avoiding incongruous combinations.

form

The
mainly

general
the

of the

above groups of three,

to

fivi

upon

amount of curvature given

the Principal

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

more exaggerated compositions

this

governing

li

ways from a point a few inches above the springing,

and turned
in

a quick curve back again so as

to bring

the upper extremity vertically above the base,

and

to

preserve general

the

centre

of gravity

of
as

the

whole.

The

form
like

thus
that

imparted

is,

mentioned above,

somewhat

of a strung bow.

From

such a
in

shape the transition

arc

is

not great to that produced

its

the

of a

bow by drawing
with
less

string,

a more violent

lateral

cur\'ature

vertical

height being pro-

duced.
chiefly

This

latter character Is
in

given to the Principal

when used

positions

where too much height

obstructions

would meet with actual or

detrimental
to

optical

and be

a good

effect.
is

Such treatment

often followed in floral aiin front

rangements placed below a shelf or

picture
in

of a hanging

which must not be hidden.

of
the

This modification
corres-

the character

Principal necessitates

ponding changes

in the direction

and curvature of the

other lines of the composition.

Up

to

the

present, slight

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

be the bow-like

imparted to

tlie

P>-huipaL

it

has been

always
id

presumed
top,

that

its

is

veitical.

direction. that

die direction

iangle,

such triangle

with

the Principal.

placed vertically (sec Fig.

is.

t).

There

design however, another style of

to

applied

a large
in

class

of

flower

arrangements
line

which the Principal

has a hori;

of the

composition

direction zontal or almost horizontal

and,
this

supposing a
stjie

tri-lineal

group of

enclosed
the

in a right-angled
tri-

triangle,

hypotenuse of the
lie

angle would
2).

horizontally (see Tig.

is

This

latter stj>le

chiefly

ap-

|)Hed to flowers arranged in

vessels,

hanging

ik^^^^
^"^

or in standing

vases

when

placed on

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

clHTs

growths

on the edges of
it

or banks which lean over laterally. of the auxiliary

lines

In such elevated arrangements

often happens that one

on the side towards which the Principal

bends over receives a decided droop and

the droop.

proportionate lengthening in order to emphasize

Such drooping

lines are technically called

Streamers,

The Streamer

character
it

may be imparted
regarded
as
is

to either of the au.\iliary lines,

but redundancy must be avoided, and

is

fatal

error

to

introduce
floral

Streamers on both sides of the Principal.

The
bamboo

dreamer
vases

very much used for

arrangements
or
in

in

suspended vessels,
placed

in

tall

having

mouths

in

their

sides
in

receptacles
is

upon the edges of raised

shelves.

Tlie prevailing idea

each of these cases

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

description

has been

:onfined to

three, Ave,

and seven-linei

Single line and double line compositions,

well as those of nine, eleven, or

more

sometimes made, but

their use

is

very ran y rare.

The

double-line form

is

employed
o

ally for the simplest of all flow

ngements. namely, that of one flower and

The
crtieal

di/ferent lines of a composition

have hitherto been spoken of as

but
actually,
in

if

existing in
directions

plane

parallel

to

the

spectator,

addition

to

the

LINEAL DISTRIBUTION
mentioned to the
riKh,.
left.

49

pari., and downwards, these lie. 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,
north-east,
east,

south-east

soud,,

south-west,
ui

west,

north-west:
spectator,

then,

imagining
in

the

south
that
all

face

of

the

vessel

,mmod,ately

front of the

and bearing

mind

d,e stems coincide for

after separation

some

litde distance

from their origin, the cardinal directions which they take

d.)

would be as follows (see Plate XXIII

south-east, the

:-Tlie Pyindpal bends north-east, the Stcondary

is

Tertiary south-west, the Snb-primipaL which

lies

between the Primipal and

the

Tertiary, turns east, and the Support, which

vase.

between the Principal and Secondary.

terminates centrally over the

Of

the two

extra lines used fn seven-lined arrangeIn this

ments, the

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

laterally,
is

manner a

pleasing variety back and front, as well as

are

given to the compositions, and they

sight

not

tlie

flat

arrangements which might at

principally with

first

be supposed from explanatory

drawings.

Though designed
front,

the

object of being seen from a point of view

effect

immediately in

they obtain by the above treatment solidity and variety, and their
points to the right or the
left

when regarded from

are also taken into consideration.

CerUiin errors in arranging the lines of

floral
is

designs are pointed out to be

strictly

avoided.

The

first

is

that

of

Cross-cnltiug.

which

produced by allowing two or more

lines visually to intersect

one another, so as to form

angles.

similar

fault,
;

called

Vici'-cutting.
is

exists

when a stem or twig

for

cuts across

its

parent stem or branch

but this
is

allowed for certain trees, as

example the Plum, with

which such inter-crossing

a characteristic feature of the growth.

Another

error,

called

Parallelism,

occurs

when two

or

more adjacent stems or

the lines are,

branches are exactly parallel to one another, a

in addition,

fault

much aggravated when

of equal or nearly equal length.

Wiudow-cutling, so named
the
country,
is

after the

curved or cusped windows of the temples of

the

name given

to

an error occasioned by allowing stems to cross and

re-cross in curves so as to form

loop-like openings.

Lattice-culling

is

an exaggerated form of

Cross-cntting.

and

this defect
lattice

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

work.

50

ARRANGEMENT OF FLOWERS.
Another
fatal

error

is

that of

employing the Double slreamcr. or drooped branch,

Tlie above rules of prohibition,
it

on both sides of the same composition.

ed, are
in

will

be observ-

for the most part similar to those followed in floral

and other ornamental designs

the best styles of the

effects

architectural

arts,

being intended to prevent harsh, conflicting, or

line.

redundant
in

and to be productive of general harmony of

They

are illustrated

Plate

XXIV.
The
various
directions

of line

imparted to the stems

first,

of plants and branches of

trees

on the above principles are obtained,

by a

carcfti!

selection of suitable material

;

then, by twisting,

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

and.

lastly,

by means
ol

of cutting

and clipping away defective and

will

superfluous

parts.

Some

special

methods

manipulation

be afterwards considered.

SELECTION OF MATERIAL.

SJ^^'^
^^J

^'^"^

general lines of composition already

indicated,

flower

arrangements are

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

sometimes with a
of flowers in

'*^J' combination of two or more species.

^ one composition, though

The

use of

many
is

different kinds

followed in the earlier styles,

opposed to the principles of

the purer styles afterwards developed.

Combinations of two or three

difi'erent

species

are,

however, very common, and

In
all

especially applied to arrangements in vessels having

positions,
carefully

two or three openings.

of the of
different

comis

single

or
in

combined,
mind,

the

special
all

nature

materials

employed
being
plants,

kept

anything at

suggestive
are

the

inappropriate
trees

most

scrupulously

avoided.

Important
plants.

distinctions

made between

and

and

between land and water

river,

The

locality of production,

whether mountain, moor, or

its

considerably influences the arrangement adopted.

Each flower has

proper month
special

or season, and

many

flowers

which are

common

to

more than one season have

These points

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

of distinc-

tion

are carefully studied, and are expressed in the

art.

artificial

arrangements, within the limits

of the
in

Second

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

flower compositions.

As an example

of this

may be mentioned
it

late

kind

of

peach

blossom, appearing in the Summer, which, beautiful as

the peach blossom
is

is,

may

not be employed, because

specially a flower of the Spring time.

In arranging two or more species

in

one composition, variety must be sought by

the

combining branches of trees with

plants.

In

case

of three

lines

being

used,

the

branches of a tree should never be "supported" on both sides by a

plant be placed in the

plant, nor should

centre with a tree arrangement on either side.

This

fault is called

by a term which

will

be better

understood

if

freely

translated

as

sandwiching.

In a

ARRANGEMENT OF FL O WERS.
triple

arrangement

it

is

plain that

two brandies of

tlic

same kind of growth must be

used,

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

As an example
tlie

of a defective
of

may be

taken a composition witli irises

{Irecs)

{f/aiils) in

centre,

and branches

and camellia
[Iren]

on either

side.

correct composition
[tree)

plum branch
[plan/)

in the centre, a

pine

branch

on one

side,

would be one with a and a bamboo stem

on the

other.

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

Schools
allow
occasionally the
violation of this rule,
is

Plate

XXV.

Some

and permit the

a mountain tree

sii/'/ror/hig

of a tree on

either side
is

by a

plant,

provided that the tree

and

that

one of the plants

a land and the other a valley or water plant.

The above
arrangements
likely
in

rules

were no doubt made principally to prevent the weak and insipid

to

express, especially

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

regarded

ss.

female with respect

in

which are considered male, because the former are

weaker and more graceful

side

character than the latter.

slender plant flanked on either

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 In
sides.

by

tree branches

addition

-ed

together, and the

Oloua ar.enlea

is

often

employed with the Serissa^ida.

ous

single blossom.
is

.J:"::^^ 't r^ W
t

^-^-^^^

-'

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

-d

eve of decidu-

7'"''''"
'

"^="'^"'

^'^"

^^^^

-"-'

.0 be

employed

witl,

^ves l!

nolsT
The
fl

'ime be used with flowers alone

'

"'"

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

i-ved Chinese orchid has 1

P>ant
is

ower bu
'as

therefore technically treated

its

arranged for

leaves only
the

before ,h.

The

leave, of

Summ

'

1^:' "=.^r"" '" ""' ^"'^ ^"^"^ '^^^ ^""'^ '^""'' '"' ""^ I T" ^f Jponica sometimes a """" ''^'''- ^' *- --ves a special name.

ZlZ

T
''

is

//<

are faded and

and discarded.

witheLXrir a""' "' f^

"""'^
='PP'=^'-' ''"'^

''"''

"^'^

' '''"'"

^'"-

they

may

therefore be

removed

SELECTION OF MATERIAL.
All

53

flower compositions

must partake as much as possible of the

spirit

of the
in
.

seasons in which they are used.

line,

Spring arrangements should be strong and powerful

like

the growth of early vegetation;

of

Summer

arrangements must be
:

full

and spreading

whilst

those

Autumn

should be spare and lean

and those of Winter, withered and

Mention has been made above of

of a
flower composition, which are to

certain fatal errors

carefully

in

combining the stem-lines

faults
in

be

avoided.

There are other

arrangements which concern the distribution of leaves and

not be allowed to occur in regular steps or rows
the
in

flowers.

Large blossoms should

is

a composition, and this error

called

supped arraiigcmmt.
ornaments used
full

Another fauk

called the

Nail/umI

s/y/e.

after the
in

stiff

metal

flower
exactly

to

cover nails in Japanese buildings, consists

either side.

a flower turned
Cohiir-atltittg
is

view to the spectator with leaves on

The term

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

another
is

colour

as,

for

example,

white

chrysanthemum

between two red

ones.

This

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

The term Dcia-dropping

feeble

given

in

a composition to a leaf which droops

:

down

in

manner so

that

it

could

not support a drop of water

Plate

this is greatly objected to.

The above errors are

Three
flowers,

illustrated in

XXIV.
ai

distinct

ag
bios
f
II
I

of

observed both

in

flowers

and
;

leaves.

In

there are

the
leaf,

full

oms
af

e half op n blossoms, and the buds

1

and

in leaves,

the

young green

th

ed lening or
1

falling leaf.

In flower arrange-

ments with one material

character of blossom
full is

fo

anpl
fo
1

cherry or peach blossoms alone, a difierent

n s of the composition.
;

sele

d
,

For the Primipal,

blown flowers

will

be used

for the

Scamdai-y, half open flowers

and

for the

Tertiary,
is

buds are employed.

powerful than
full

Some

designers, on the principle that the half

open flower

more

the

full

blown blossom, use

the half open flowers for the Principal, and the

blown blossoms

for the Secondary.

Straight leaves are considered strong, and curled or

bent leaves

weak

the strong flowers should be near the

weak

leaves,

and the strong leaves

is

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

In thinning out leaves
in

flower below a leaf

weaker than one

for

a composition, two strong leaves must remain

every

FLOWER

VESSELS.

STANDING VASES.

m^AVING
rl^Tjapancse
-,.

classified
floral

the

differenl
it
is

plants

and trees which supply material

to

for

tlie

designer,

leccssary

describe the

various

sorts

of flower

^!^ vessels which are

arrangements placed
of
in

employed ^
.

for

eiving the compositions.

The form and

character

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

them.

These receptacles
materials, such

are of a diversity

shapes

and

of

different

as

wood,

porcelain,

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

Without attempting

the

development of the
flowers,

different art-industries as appllc;d

it

vessels for receiving

will

be

necessary to refer u<

decoration of such
floral ar-

the various
vessels,

shapes,
far

proportions,

material,

and

so

as

they

control or are governed

by the

rangement adopted.

The most
or

ancient

receptacle

used was a
height,

long-necked earthenware

bronze
placed

vase

of considerable

and
ately
led

the
tall.

flower

composition
difficulty

therein

was made proportionhigh

The
use

of balancing

such

arrangements
to

to

the

of shorter

and broader
compositions.

vessels

and
fact

cor-

responding lowering of the

This

sliows

that

from

the

earliest

times
floral

recognized

connection

of proportion
It

existed between

tlic

f^rnup

and

the vessel in which

was

It

is

important

to

note

that

the

surface of the

wa

which the flowers

placed

is

growth springs, technically regarded as the soil from which the

origin.

and the designer

in

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

must

With

this

principle

view,
mi

and

flower

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

became the

favourite form used.

Of

this

kind

there are

trumpet-shaped form, supported

sulyect castings representing sucll

and varying from a low saucer-like vessel to a on short legs, and sometimes upon ornamental
water, spray, or an animal group.

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

the ordinary vases employed in the

also

much

used.

Among

these, the

narrow

necks

are

employed

for

the simplest arrangements,

such as are

displayed

the tiny tea

rooms where

rules of austerity necessitate

very light

and quiet

Horal compositions.

Vases intended
to

for elaborate

flower arrangements are always necessarily

of the
stems.

wide-mouthed kind,

ensure

an appearance of stability at the base of the flower

in

few of these different vases are shown

Plate

XXVI., but

there exist a

number

of other shapes in

common
tall

use, besides several fancy

forms which are occasionally employed.

is

With

the ordinary
fixed

vase, whether of wide or

narrow mouth, the height of the flowers

generally

as

approximately

one

and a half times that of the vase.

Some

Schools

increase this

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

V'EHSELS

FOR WATER PLANT.S.

in

I'or the

purpose of displaying,

a suitable

and suggestivt

ranner. water plants and

grasses, low tub-like vessels

came

into use from quite eariy times

There are two

I.

principal
is

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

The Sand-bmid

broad shallow vessel, oblong, polygonal, or sometimes

in

oval

plan,

made

of bronze or porcelain, and contaning a layer

of pebbles or as
its

sand covered

with water.

The Harse-tnb

is,

name

implies,

a shallow tub of wood, circular in plan,

Its

and generdly lacquered black.

is

use as a flower vessel

said to have originated during the exigencies of

war tmie,

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

when a famous

general of Esthetic tastes,

flowers

in.

Whereas
the

it

is

es

a rule with other kinds of flower

visible,

t,,at

water shall not be

the water

vessels of the

Sand L,\.^ Hor.

wl*

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

r'T T

"""'^ ^"""' ^"^ "- P'Water

="-

'-- ->

only those

plants are chiefly en,plo>l,, but

FLOWER VESSELS
57

somclimcs plants or trees which grow on thp Innl-c f ^ uie banks of streams S *v are allowed I The iKr- t^\ such water vessels is, moreover, chiedy confined --"niinea to tlin ... the 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 com1

position

and the vessel

is

followed

when

these

broad shallow receptacles are employed.

height of the
floral

The

composition

is

made about
vessel,

one and a half times the breadth of the and

is

not regulated by

its

height as with the

ordinary standing vases.

It is

customary with the above-named

use fancy fasteners of metal,

water-bowls
to

to

hold,

or give

the appearance of holding,

the base of the flower stems.

These

will

be

described afterwards
of fastenci-s
is

when

the whole question

discussed.

Examples of Sandare

bmols

and
A.
is

Horse-tubs

shown

in

Plate

XXVII
mention

special

water vessel requiring

that which goes

by the name of the

j-

Long-boat, not from any particular resemblance

in

form

to a boat, but from the

fact that

it

is

very long

propoilion to

its

made

of white wood.

In

shape, the Long-boat resembles

a Sand-bml, and

a similar

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

Another form of standing

soit of
like
^'^%-

vessel

sometimes used

for plants

is

the

Well-frame, a
at the angles

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

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.

In the example

illustrated,

a plant called Togiri

{Clero-

Hcndron sqitamatutn)
japoniea).

is

used

In

combination with a long slender grass called Susuki {Etilaria

ARRANGEMENT OF FLOWERS.
FLOWER BASKETS.
The
plaited
plants,

famoii!

Yoshimasa
:plac]e

is

said

to

have

been
of

the
reecli

first

ploy

tlie

basket

as

for

flowe

Baskets,

made

items

of creeping

cane, or ban-

of Chinese manufacture,

were much prized

Japan,

and

high

\ahied.

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-

To

the present day

prices

duced
his

their

manufacture into this

country.

He

presented one of

own make
it

to tlie retainers of Yoshima.sa,

with a humble request

that

should be embellished with an ornamental stand

the

when

placed

before

Regent

Yoshimasa

is

said
it

to to

have been so pleased

widi
dais

its

simple elegance that he ordered

be put at once oh the

it

without any

stand

or

tray.

From

this

is

said

arose the

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

under other flower vessels.
large

special kind of Ftoiver-baskel, with a

tlie

oval

handle arching over

the

top.
:

is

still

called

the
kind,

Hokoji
with a

diape, from
straight

name of

its

first
is

.-naker

and

anotlier

neck and no handle,

his daughter. Reishojo.

called the ReisJiojo

shape from the

is

name of
in

The Hokoji-^^^tt basket

round the

shown
handle.

Fig. 6.

arranged
in

with a

convolvulus twined
fi.\ed

Flowers placed
hidden within.

such baskets are

in

bamboo

tubes containing

.\notIier popular story, in connection

with the use of baskets as

flower vessels,
visit

is

that

the famous

philosopher Rikiu started the fashion

the banks of the river

on the occasion of a

to the

cherry

blossoms on

Katsura, near Kioto,

in.

when he made use

still

of a
in use

common

trout-basket to arrange gathered flowers

There

is

a special basket

called either the

to,

KaUm-baskd
various

or the

T,-o,il-bmkel.

Besides the orthodox shapes alluded

in

there

are

fancy

forms

of baskets

employed

both standing and hanging

positions.

Of

these the

following principal examples

may be mentioned :in

The Hatf.plailMa,kel. a

cylindrical

basket

which the
in

vertical threads project

two or three inches above the horizontal

plaiting, as if unfinished

making.

The

Rai,,.,oal-bmhl.

edge of the mouth, and somewhat resembling the straw

a hemispherical basket with a frayed top hanging over the

collar

of a Japanese farmers rain-

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

VESSELS.

,j,i^^,^^,

collecung

tl,e

wool of

tlie

cotton plant.

*
_.,

""'"'

''"''

Th.
^ [

Z^,y.to,., a .,a ,jai ba,k ;,

,,_,^,|^

lishine-bait.

""utr

tu

it

usi:cl

for carr

The IIorMa,hcl,
cylindrical

basket

of

tall

form,

with

two horn-likc projections

on the top as handles.

The

Spuire-baskct, a

basket of simple

cubical shape witli

no handle.

The

Loiig-bttshl.

tall,

diin,

tube-like

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

The

The
It is

name

Sosen

is

that

of

its

in-

shown arranged widi chrysanthe7.

mums

in Fig.

Among
hooking

special

baskets for hanging or

the following

may be mentioned

The Horn-shapcd-baskd,
ed
like a bull's horn.

a basket shap-

The

Cicada-ihapctt-baskd. so called from

'

the

body of

The

SnUcrJly-slinped-bashl.

Ijasket

whicli

lias

a short cylindrical
llie

neck, and a

broad arched body curving out to points

of a butterfly with open wings.

at the

bottom,

ivhole

form being suggestive

The

Hooii-shapL-d-baskcl

lj.isket

of an

irregular
in

oval

shape
baby's

below with a tup

sock and,
to

opening towards

one

end,

somewhat

resembling

shape

the

NGEMEXT OF FLOWERS.
in the cold seri hoods worn by woman Japanese, sufgesuve of the with Willow and Narcissus.
It
is

illustnUed by

Fig. 8, arranged

The Gmini-sluipaUaskd. a
in

basl<et

woven

the form of a gourd.

sembling
ese

The Daikokus-bag-bastel. a basket rein sliape tlie bag carried by the Japanof Riches, Daikokit.

God

The Arima-baskcl, a basket of

cal

cylindri-

form with a side mouth, similar to the

hang-

ing

bamboo

basket.

The name

is

derived from

a village called Arima.

For

certain

suspended arrangements of
basket,

creeping plants

a deep net-work

some-

thing like an English waste-paper basket in shape

is

often used.

Within

this

a low flower vase

rises,

is

placed from which the creeper

being arranged

so that part

is

seen through the netting of the

basket, and part hangs over the side in a streamer

or

trail.

In

all

cases flower baskets require an

inner vessel

for

holding the water in which the

placed,

Hower stems
sists

are

and

this

generally con-

of a

concealed tube of bamboo.

Examples

of various flower
described, are

baskeu, including those above

Plate XX\'II.

to be seen in

and

a'\MUOO
"''^^^

VASES.

>'""S<=
first

o, or out of

'r ^'"^'f bamboo tubes.

.

As

near the root, about

-l^o attributed the original use of flower vases formed introduced, these were simple cylinders of thick bamboo, cut

more
I

height,

and four or

bottom beinj; dosed by

cut
into
different
sliap

five

inches

in diameter, the

division.

facility with which such vessels could be the invention of a variety of forms, each bearing a fancy

The

FLOWER
and
specially

VESSELS.

adapted to different styles

^=-=

we.

netted

^^l;*
many

-veral stages, so a. to allow of

one vase.

^^r J^T ,":."

i

^^
'" '"

The

iM

different kinds

employed

q"ire tabulation, and

ai-e

therefore given nerelore mv.n

mT Japanese.

of the

n^

1 To

""""""^
"" '
I

"'""
of these

"

^'"'"

''='>'

"='"*'ion

they

The meanings

names are

iiuniDLr

01

tilt

apertures
'

to

ntli,..-

follow:-

""'

''J""'-

''l=>'

"=

a^

a/.>./V,._Uos.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

si<le

u,outl, as

above

/;,/,r^,.,f.,A,.-Travellig-pi|,ow-shape; a very short vase wid,

sn,all side slit.

6'/,i-f///-j/^.-Singing-mouth-shape;

so

named from a splayed

lips

forn,

given to

opening, suggesting the incline of the

in singing.

;/ ^z/ij-^r///-^,,/,,. Sharks-mouth-shape

so

called from

teeth like prominences give

bottom of the side aperture.

Fukrokuju-gala.\i^nKi
:

after a

Japanese magician represented

witi,

a very

high

of the low position of the side mouth.

n-galit.

Chinese-gateway-shajje

a high

one of the side openings rounded,

resembling a Chinese arch.

rrr/<7,-

Wild-geese's-gateway-sliape

v,Tse

with curved side-opening somewhat like

the above, the

the

name being

taken from that of a famous arched sea rock called

Witd-gccsii s-galnoay.

Anaii/.nv-i'.r/',;.

Named

after

a fabulous animal

called

An

a;,//

lelhing like

monkey, and

said to inhabit lakes.

g,
r,-

ARRANGEMENT OF FLOWERS.
1

&/V,.-^/,7. Dislilling-vessel-shape
other.

1,,.
.

, a

l,l,>Ii liii;h

vase with

Wo

small side openings

one above the

^.. . A-,rM7ra-jr.i/^.Tile-shape
tile.

11 r.-m so called from

1

itc its

ri-scmblance resenioiance

to lo

half

cylindrical ,

cappiiii' i i i,

7?<j.^riAi. Oar-blade-shape

-.

resembling the blade of a Japanese oar.

stone standard-lantern. 7-0TO-i'/,..-Lantern-shape; supposed to resemble a

^iW'o-^rtAr. Ray-fish-shape.

Z'flrM-^,i/<!. Seated-hermit-shapc;

this

vase

spreads

out

at

the

bottom

and has

an

arched side-opening near the top. suggesting the form of a hermit's cowl.

AMo)-/--ir)7(-^^/i7. Climbing-monkcy-shapc
in the

this is

a high

vase with a

very long deep cut

middle, leaving

two short cylinders

at top

and bottom.

DaibiiUit-gata.

Seated-Buddha-shape

so called

from

its

supposed

likeness

to

seated

Buddhist statue.

Eith-^ala.

Monkey-shape.

Kato^iichi-gata.

Cusped-opening-shape

so

named because

of the ciisped

form of the side-

opening.

Tora-gata,

Mantis-shape.
i

CuyV/i-^'a/ii. Five-storey-shape

a very high vase with five side openings.

/r/,..-,7V/._Icicle-shape

so called from the leg-like cuttings at the bottom of the vase

icicles.

in

the shape of

y7///W,/-^.._Thr:e.|egged-sl,ape:

in

this

vase the bottom

of the cylinder

is

cut

away

leaving three legs remaining.

7u)v'/-<j5r<,.^r/^._Bird-cage-shape.

FLOWER
r&-.f (ift. Hancl-pall-shape
".t
;

VESSELS.
t

reseniHin ,

exac,

p:::"i ,it":r ieave to

I',
,

?"

"

"==" ^-^"--^

-^^'-^

a Iiandle-likc strip above.

Tlif/MC-f"'". Pcstle-sliapo.

Uni-gata.

Mortar-shape.
a
long
thin
il,

5/M/!-/Mr/;!Vnfo. Flute-shape;
fl,e

'^

''''"'''<'"

'"filitly

bent

like

a native

/&/<,i-,Vte.-Bridge.post-shape; supposed to resemble the ne>ve1 -, 51-MioiL ine newel f of a wooden bridge rail having ra,l. !,:,: a deep square slit in the
, , 1

middle.

/I//<i/j/-.t///-^nto._Beacon-light-shape.

j\'(>V-.f//-Af,',j.Two-storey-shape
'

a vase with two si.le '"' '"osiue openintjs one above the other,
1

in

addition to the top opening.

i'<i//V-fiVi-.f^/<T. Three-storey shape.

7}fc,fai'<,.-nucket-shape
;

named

after

its

supposed resemblance to a well-bucket.

7i/,ra,V^to.-Cranes.neck-shape; so
cutting

called

from

the of

length

and depth
suggestive

of

the

side

which

leaves

long thin

neck

bamboo

of a cranes

Tsiin's^niie-ffata.

Bell-shape.

Koma-gata.

Spinning-top-shape.

Tarai-gala,

Tub-shape.

Horagai-gata.

Conch-shell-shape.
Cascade-ascending-dragon-shape
supposed
;

Talii-liobori-rio-gata.
spiral,

a high

bamboo vase

cut into a long

to resemble a writhing dragon.

^^

ARRANGEMENT OF FLOWERS.
it.

S/V--/.'.-Ccrcmontal-cnp.shapc; nnmcl after

rcscnhlance to a Japanese Cot.rt cap.

yikiro-gitta.

Food-box

-shape.

Ayy-jM.S'ra:fo/.Two-storeycastle-turret-shape:
side openings near
tlie

so

called

from

square

embrasure-like

top.

iVntoOTwr-.f./te rigeon-breasted-shape;
.giving
it

so

called

from

bemi

in

the

bamboo

cylinder

a pigeon-breasted appearance.

A'/Hiimr-fi;/^. Pan-pipes-shape;

a row of small
fi.\ed

bamboo tubes of

different

heights tied

together with cord and

on a stand.

The
of the
the

invention

of most of these

bamboo vases
in

is

attributed to different professors

list,

Tea Ceremonial.
depth,

As

will

be perceived

the above

assisted

by the

illustrations,

breadlli,

and roundness or squareness of the side apertures, as well as their

height

number, and the

total

of the

vase,

suggest

the

names

for

the

different vases.

Many

of them are provided with a circular

nail

hole on one side, near the top, for hanging

purposes, anil such vessels can be used at option, either

the floor of the alcove.

hooked to a

nail

or standing upon

The

tall

kinds having

open tops are invariably used standing.

Another

variety

of

bamboo vase

not

previously

mentioned consists of three or

more bamboo
after their

cylinders of different heights attached in a line,

and named

r/,c

Rma-^-piUs

resemblance to a row of pile heads.

Many

of the above mentioned

bamboo

vases arc illustrated in Plates

XXIX. and XXX.

is

There
tlte

also exists

what

above shapes,
on
,t

freshly cut from a

"g

called the lWdl bamboo mso. being a vase of one of growing bamboo stem, with twigs of green leaves remain-

In such a vase the

:~

intermediary knots
''

or divisions

are

left

intact,

and small

*^ "''
i::,:"'"''' '
Japanese
flower
vessels

"'"'"^

'-

'" -'

""'-

^--^-^ ^-'kinds
those

may be

broadly
"'^=

divided

into

three

used

^aiir '"iiar:,:
1

ir^C'd::,::;: ::;,r rrrr^ ^

va/ieti/tp-

t-

'^''' ^

'''"

'-'-^^^ '- "-^'-"^ ^^^-'

""'"^
can

r^f

baskets and

kind, with the pvrpntlnn

,

certain of the

bamboo "X.O

"'P""

'

'. ""^^

^r -i "^ ""=

vases just ins,

enumerated, which

be used either

for

l^alDi

i^n
IB

mn
a

LJJI iE

FLOWER
standing or lianging.
In

VESSELS.
clearly

65

order to distinguish

between

flower

vases

which are

hooked
will

to a pillar or wall surface

in future

and those which are hung by chains or cords, the former

tiie

be called

Hookcd-vaseb and

latter

Smpmded-vesieh.

HOOKED
Hookcd-Vsse(s
I

VESSELS.

of

irious

kinds,

from the chrysalis-shaped

are
invariably
short,

)ot

of a bamboo,

the form of a shell, gourd,

melon.

They

impared with the

with

a few exceptions, the absence of flatness below suggests their

Jiiethod of use.

Among

the

bamboo

vases, those of

little

height and

with narrow side apertures, such as the Lions-mouth- shape and Travelling-pUloiv-shapc, are used mostly as
is

hooked

vases.

lateral tlirection

given to

floral

compositions placed in hooked vessels, the idea sugcliff.

gested

being that of flowers hanging over a

rustic

For tea rooms,

is

where a severe and

vases
I

style

of flower composition
use,

preferred,

of curious shape are pressed into

;

among which may be

a rough

mentioned

the Oclopits-poi, a coarse irregular shaped earthenware jar

for

'

-vi

used

by fishermen
pot-shaped
a

holding

the octopus
like

the

Iron-pot,

iron

vessel

somewhat
of

martin's

nest

and
as

tlie

Decayed-stump,

piece

decayed

wood hollowed

out

a vase.

The Gourd
have been

is

also a fa\'ourite form for

in

hooked vases, the mouth being

It is

sometimes cut
first

the side and sometimes at the top.

for flower

said to
Rikiii,

used

arrangements by the philosopher

design
in

who once extemporized

floral

a wine-gourd which he took

from an itinerant priest at the temple of Sumiyosiii near Osaka.

As
ployed as
^'"^

previously

mentioned,

many
to

of the

woven baskets
class.

flower

vessels

belong

the

hooked

These

'

to

be

found

described

under

the

head

of flower-baskeLs. and

illustrated in

Plate

XXX.
pillar

As
They
letters.

a background to the Hookcd-vessds, and originally intended to protect the

or prepared wall-surface from staining or abrasion, narrow oblong tablets of

used.

wood

are often
in

are sometimes

made

ornamental, being lacquered and inscribed with verses

gold

Some

are plain oblong tablets about four inches broad and three or four feet

gj

IRRANGEMENT OF FLO WERS.

long-

othe,3 arc

They

are provided with a long .larrow

nail

the top; and others have eurved sides. wedge-shaped, tapering towards for sliding to different heights slit down the middle

over the iron

Hower vase
folding

is

hooked.

up when

and polished or lacquered.

held to the wall or pillar, and to which the or peg by which they are are hinged in the middle to allow of In some cases these tablets They arc often made of segments of bamboo flattened out out of use. Examples of these hanging tablets may be seen in Plate XXXI.

SUSPENDED VESSELS.
Suspended
recess.
vessels
i

those

hung by a cord or chain

-shaped
ire

to the ceiling or lintel of a

Belonging to

this class is

vase

of pottery
to

or

bronze called the

Crt-'scetit-tfwait.

The

horns of the

made almost

meet and are suspended

by a connecting
chain.
rin<r

from above

and single

The other kinds

bemg
chams
these
off It

of

more elongated form are

hung from both ends by double

oi

cords.

The

simplest of

are the

bamboo tubes splayed

ends,

hollowed out

in

the middle

and hung

horizontally,

so

as

to

suggest the form

;

of a

boat or punt

others are of bronze,

shaped

in

e.vact

resemblance to a
is

ship or junk.
to

Yoshimasa

said

ha\e conceived the idea of boat shaped vases whilst observing

children
sailing

toy

boats

filled

with

flowers.

Another story
use

at-

tributes the
sels

first

of such vesphilosopher
day,

to

the

famous

Soami,
to

who on a hot summer

his

please

patron

Yoshimasa,

took a bronze

vessel of accidental

resemblance to a boat, and by his

manner of arranging the stems of

the flowers therein,

conveyed the

68

ARRAN'CEMENT OF FLOWERS.
hanging
to

an anchor of black mCal

basket-work.

.he

side:

.he
in

Ba.k.,..M..I. a boa.
shape,

of n,c.al
ends,

oblong Also a curved cane-work ay.

middle a
little

hung

fron,

.he

and

carrj'ing in .he

bowl of flowers,

is

someumes

used.

.'\n

suspended
vessel,
sibility

in

arrangements important theory in l)oat view an elevated position, both with a

that

they

ought
idea

always
of a

to

be

the

floating

and

also to prevent the pos-

of seeing the
It
is

wa.er which
held
to

they contain.

be a

great violation of taste to allow .he

water which

is

necessary for preflowervisible

'^'

serving the plants in a

to

be seen, because, water

within a ship

would be suggestive

'^'

of a leaking or wrecked vessel, and would be consequently considered unlucky.

times
the
is

Some-

idea

of a .stranded or beached boat

is

purposely conveyed by a flower vessel

which

placed

upon the

dais

instead

of being

suspended.
its

In

this

case

the

vessel

should be raised upon a stand of some kind so as to place

ej'e

upper surface above the

level

of

seated

visitors.

.Such

standing boat-vases

are

supported upon two wooden

rollers

or upon

a light frame of cross-pieces.

to

Before leaving the subject of boat-shapes,

called

allusion

must be made
for

standing

vessel

the

Lotig-boat

which
vessel
it

is

sometimes

employed
called

elaborate arrangements
its

of plants

and

grasses.

This
fact that

appears to be

a boat simply on account of

It

narrow length and the

is

made

of plain

white wood.
It is five feet

resembles a Sajid-bmvl. being an oblong tray-like vessel with short legs.

long and about

one foot wide and

is

only used
are

for

very large recesses on

in

special

occasions.

The

boat-vases

described above

illustrated

Plates

XXXII

and

XXXIII.

The

classification

given

refers

only

.o

the

different

shapes

and

sizes

of

the

boat-like vases. Other terms are used to designate the manner of hanging the vessels and of arranging the Sowers within, so as to convey different nantical ideas.

The

three

Ae

pnncpal arrangements are .hose of .he Ouhvard-lonnd-Mp. the Homcioard-hound-Mf. and

Ship-,n-por,.

Besides

these there are other designs

known

as

the

are conveyed

prow of the
con,pos,t,on.

Sw>my.,c,mg-Mp. the Becal,cd-Mp. and the Brach-ladm-Mp. These different first, by the direction, right or left, and backward or forward, given
vessel;

Dnhnt-ship. the
fancies to

the

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
different

styles
rules

of composition
for

are

shown
>

in

skeleton

form

in

Plate

XXXIV.

Other

special

hanging boat- vase

will

be considered afterwards, when

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

chamber

is

discussed.

Suspended vessels by a thick

ii|Jon

called

WeU-bncktis are often used

is

in

pairs
tlic

Iiiing

over a pulle

silk cord.

One
in

of the buckets

allowed to rest on

Hoor, or in
well,

some

cast

a frame designed
in

imitation of the railing or

boxing round a

and the other

suspended

the

air.

To
hilst
lilar pair

Rikiu

is

attributed

the

first

use of such

flower

vessels,

the

idea

coming
well.

to

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

of buckets are
occasionally

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.

In

this in

case the
tliis

rope

is

arranged

in

stand for the lower vessel.

Buckets used
but for
as

way

are always flat-sided, to

ensure

stability,

the

ordinary suspended arrangements,

cylindrical

as

well

square

buckets

are

employed.

These

vessels are of plain

wood, of wood lacquered black, or of worm-

eaten or decayed timber.

For the most handsome kind

in

black

lacquer, a chain of silver or to those in ordinary

a red silken cord should be used

wood

a plainer cord

may be

attached

and

in

the

case of the rustic buckets

of decayed

wood, a common
substituted.

hemp rope
or

or even an iron

chain

may be

Single

buckets are occasionally to be seen standing upon a low table

decayed

slab

of wood,

or hung by a single

bamboo

rod.

(Sec rlate XXII.a.)

Porcelain
:

buckets

and

pulleys,

although

not uncom-

of quite

modern

introduction,

and not accordin<r to

Other fancy vessels suspended by cords or chains are employed. Among the bamboo vases
in

Plate

XXX.A.
lantern.

will

be seen one which

is

suspended by a chain,

like

Suspended baskets,
not

distinct

from the hooked baskets

previously described, are

uncommon.

Another example

is

the suspended net-work basket previously described.

FLOWER
the arrangement from the observer
principles
is

VESSELS.
style adopted.

69

governed by the
all

According to the

of lineal distribution

which apply to

suspended flower designs, the Streamer

It is in

holds an important place in

the above examples.

trails

such cases intended to suggest

stern.

the long bent oar which in Japanese boats

back towards the

This
tlic

floral line

must not be too powerful, as

centra! flower

it

represents the idea of an oar dragging in

water.
sails,

The

stem stands

for

the single
sails

mast of a junk with or without

and the

subsidiary stems indicate the

other

and rigging of the

in

vessel.
detail.

This

will

be better

understood by describing one or two of the arrangements

HoniLivard-boHud-ship.

In arranging a boat of flowers

left,

in
is

this

form the prow of

host's side of the

the

vessel

is

turned towards the

order to
is

which,

in

superior

rooms

the

chamber,

in

convey the idea of home-coming.

full,

The

central

stem of the

floral
full

arrangement
sail,

high and

curving towards the helm, so as to indicate a ship in

front side

and a Streamer hangs over the

sloping

back towards the stern

for

on the

right.

The above

is

a favourite device on occasions of rejoicing

is

a safe return, or

when

a son or daughter-in-law

being received into the family.

till

Some

say that

this

method of

arrangement

slioukl only

be employed from noon

dusk.

Outward-boiind'Ship.

This

is

an arrangement exactly the rc\^erse of the former,

guest's side of the chamber,

the vessel having

its

prow turned
in

to

tlic

on the

right.

It is

adopted at parting gatherings,

journey.
It
is

token of wishing good-speed to those setting out on a

said that this

style of composition should be employed only from

morning

Ship- ill-port.

In

this

arrangement
design
is

the

vase

has

the

same

direction

as

the

Homrwnrd-bonnd-ship, but the

floral

kept small and straight, so as not to suggest

vessel.

wind or motion, and the Streamer hangs over the further side of the
disposition of the flowers should not be

Such a

made excepting during the hours

of evening.

Swiftly-miiiiig-sliip.

The
is

direction of the vessel in this design

full

is

to the right, or

outwards

the floral arrangement

and bent, but no Strcama-

is

used.

Braneh-laden-ship.

The
is

direction of this vessel

is

inwards, or towards

the

left,

and the
daisies
itself.

floral

arrangement

kept short
are

and

close,

and consists of small beyond the

flowers, such as

or

carnations,

which
is

not allowed to

project

limits

of the vase

The

idea suggested

that of a ship loaded with timber or tree branches.

yj

ARRANGEMENT OF FLOWERS.
four

with
iihicli

low

vvlieels

and no

shafls,

like

a child's toycart.

Ik

ihe llowtrs arc arranged.

TLOWER FASTENERS.
me
technique
of
suujeuL

of

Fiulau-r^

for

floral

arrangements
a great

is

one

belonging

to

the
ol

the

art

under consideration.

To

e-xtent,

however, the methods

of the compositions, and as such they are fastening are treated as a part of the decoration the flower vessels employed, and require notice in closely connected with the different

.As before

mentioned,

the

siniitgiug.

or point of origin

of the

floral

group,

is

of great importance, and the firm and

skillful fi.ving

of the stems or branches in the vessel of the of

which hokls them

stems are held
in

is

one of the most

difficult

parts

manipulation.

Ordinarily,

the

position

by small

cylindrical
slit,

pieces

wood

fitting

tightly

across

the

neck of the flower vase, and having a

through.

wider above than below, for threading them

top,

The wedge-shaped

form,
to

wider towards the

which

is

given

to

the

slit,

allows slightly diOcrent inclinations

be imparted to the several branches.

The

fastener
is

should be fixed about half an

inch

below the surface of the water, the level of which

made
vessel.

to vary according to the sca.son.

If the vase

and

it

should

not be

visible

from the front of the

used be a lacquered one, paper should be

to prevent scratching.
in

placed

between

its

surface

and the ends of the fastener

in

In

some large-mouthed

vessels,

and

the

Fl(ro.'cr-baskcls,

the flower stems are fixed

concealed tubes of

bamboo which hold

in

the water and the

fasteners.

Some

Schools affect a rustic simplicity

their appliances

and employ a

naturally forked twig to hold the (lowers in position.

For arrangements
shallow
Tubs,

of water

plants

in

neckless

vessels

such as Sand-bmuh

or

other sorts
vessels

of Faslcucrs are necessary, which are hidden below the sand or

contain.

pebbles which such

with
holes
is

One
of

kind consists of a sheet of copper

extremities

perforated

of different sizes

to

receive

the

of the different stems.

Another
to

Ftislcticr

made
the

of rings or sections

bamboo
in

of varying

diameters

attached

wooden
held in

board,
position

stems finding lodgment

the sockets thus forined,

and being

further

by the pebbles which cover them.

Occasionally a
is

Faslcmr
employed.

cilled

the

Whirlpool, and consisting of a spiral hoop of metal placed vertically,

y.

j^
as the dn.gon

ARRANGEMENT OF FLOWERS.
is

a mythical monster belonRing

to all elements, the

use of this

fasten,

plant. not limited to any particular hind of

The
ent positions.

Torloise-faslaicr consists of

one or

The
ducks.
It
is

]Valc,-fm,'Ha'la,cr

is

generally

a metal

imitation

of a

pair

of mandarin

occasionally attached to water plants.

The

Frog-fa!lcncr
it

needs

no

.special

explanation,

e.xcept

that,

representing

an

amphibious animal,

may be

used with both land and water plants.

The Amhar-faslcner
It
is

is

specially intended for use in

suspended boat-shaped
ship,

vessels.

incorrect to

fi-x

it

in

a vase

representing

stationary

as in such a case the

anchor would not be

visible.

The
sheath

Knifc-faslaitr

is

metal knife or
its

dirk

such
as

as

is

worn

in

the

wooden

of a Japanese

sword,

and owes

original

use
artist

flower fastener to a floral Oribe, in which, having

arrangement once hastily

extemporized by a famous

named

no other

fastener

at

hand,

he used
tube

his

knife

for

the

purpose.
;

The

Scissors-fastcmr

the Pij3c-faslater,z long metal

with

a small bowl

the

Weighf-fastcncr,

an oblong
over the

metal paperweight: the Cltain-fa^laicr,^ short chain disposed in a bunch; and the KcHtcsland-fastencr,

charcoal

a small brazier these

;

iron
also

ring and
are
all

tripod

used

for

supporting

the

kettle

occasionally

employed.

The

principal

of the

above

fasteners are illustrated in Plates

XXXV.

and

XXXVI.

A
The
native

special

kind of fastener, called by the Japanese yakago, needs separate notice.

refers to the

name Jakago
filled

long sausage-shaped

bags of

bamboo basket-work

which are

with bowlders and laid in fascines at the sides of rivers to break the current

and protect the banks.

They

are

common

feature

in river

scenery and have therefore

come
water.

to

be imitated

in

flower arrangements intended to be

suggestive of the presence of

The
are

yakago-faslentrs axe
in

long cylindrical baskets with closed and

together

rounded ends

which
being

laid

shallow

basins

with

ornamental stones or rocks, and besides

of
tlie

decorative

they serve to
use

hold the

stems

plants artificially arranged

within.

An

illustration

of their

may he

seen in Fig. 33, where two are

shown combined with

the A'em'a japonka, the whole being intended to represent a view of the river

Tama

near

which these flowers abound.

FLOWER
The
fur holding

VESSELS.
by a chain
(See Fig.
another vessel occasionally

inverted bronze bell suspended

is

iisetl

arrangements of wistaria flowers.

i6.)

A
1

curious

form

of

suspended

llower

vase

is

th

in

bronze of a Japanese umbrella.

(See Fig.

14.I

large

sea-shell

hung by a

single

cord

forms

a favourite receptacle for

simple flower arrangements.

FLOWER CHARIOTS.
Hulonging
strictly

speaking

the class of standing vessels, but sufficiently striking

:;,

nportant to require special no

is

tlie

Fltnocr-chariot,

which figures so often

screens

in

painted
decorative objects.
processions
it

and

odicr

At

certain festivals
tliat

and
full

appears

large tubs

of

richly

arranged

flowers

were

drawn
orna-

upon

wheeled

chariots

handsomely

mented.

The

idea

was adopted
in

for flower

arrangements placed

very large recesses,

where great

size

and display were required.

Floivct'-charioi
is

The
feet

length
six

of the

four

inches
shafts
;

from
the

the back to the end

of

the

wheels

are

about
flower

eighteen
tub

inches

diameter,
chariot
liigh.
;

and the
carries,
is

which

the

about

inches

Both

vehicle

and and

lacquered
fittings.

black

Iver

The
full

flower
high,
15.

made very

and

illustrated in Fig.

ceplacle

called

the

ll'aicr-canying'Cart
is

is

also employed.

This vehicle

flat

truck

FLOWER
I'or
in

VESSELS.
number
hiikU-n

73

arrangements

in

these shallow vessels there are a

of fancy Fasleticrs

comninn use which are

in

many

cases merely

ornamental,

the

contrivances just
ilv

described, bnricd below the sand or pebbles, doing die real duty
position.

of linldin->

stems

in

The

principal of these ornamental fasteners are as follow

Tlie Horse s-bit-fastener is an exact counterpart of a ponderous Japanese bit. Its use originated with the employment of the Horse-tub as a Hower vessel, and to this kind of
vessel
its

use

is

chiefly confined.

The

linked character of this fastener allows of

size to encircle

its

being

fold-

ed

in

a variety of ways, so as to leave loops of different

the

Hower stems.
the

With the scnipulous minuteness

floral

of detail which characterizes the art under discussion,

diflTerent

designer has classified these

ways

of using the horse's-bit, giving

for the various

names

to each

bar, plate,

and loop of

iron,

and inventing terms

in

methods of

folding.

The
is

principal

arrangements are shewn

however,
for
if

Plate

XXXV.a.
in

The use

of the Horse s-bil-fashncr

prohibited,

floral
it

designs

placed
into

the

ornamental recess of a chamber of

superior

class;

and

be

introduced

flower

arrangement

in

such

important

rooms, the composition must not occupy the principal position.

The
it

Cnxb-faslcncr consists of a metal crab or pair of crabs.

If

one crab

lie

used.

should be disposed

so as to contrast in character with the flower arrangement, by which

in

is

meant, that

if

the composition be high and powerful, the crab must be placed

if

a low

and unobtrusive

position, but

the flower design be broad and wanting in vertical strength,

If

the crab must be raised in a climbing attitude.

a pair of crabs be used, one must be

adopt the quaint phraseology of the

elevated
floral
art,

and the other lowered

one
not

in

position,

or.

to

must be

vmle and the other fcmah:

this

As

the representation

is

that of

land

and

a sea crab,

kind

of fastener

may be used

with land as well as with

The Hare-fastaicr
plants,

Js

a bronze hare In miniature.

for

It

may

not be aflixed to water

and

is

specially

suitable

arrangements of wild plants and grasses, such as the

lespedeza. rush, and elecampane.

The
of

Pair-of'Carp-fastciu-r

consists

of a pair of metal
is,

fish

designeil in the position

two carp sporting together.

This fastener

as might bo supposed, only used for water

ARRANGEMENT OF FLOWERS.
expressed

by

suspended

bronze

boat,

bearing

white

cbrjsanthen

suggestive of a loaded ship in port.

, the

sentiment conveyed
in

by

tlie

Eularia Jupoi
\'ase.

and Palriiita scabiosafolia

arranged togetlier

a small bronze

,-^,_dcnolLd

by

hooked

vessel

in

the shape

ot

a gourd,

cmiaining

sn

chrysanthemums.
vase engraved with a design of wild ge.
flowers.

.,

, the

idea j,uj,'gesled by a bronze

full

(lying across the

moon, and holding lespedcza

the character e.\presseJ by a bronze vase engraved

rain,

with

a design

represent

and containing a branch of maple.

enoted by
bronze va;

kind of water plant,

placed

in

jraved with the design of a spidei

conveyed by a branch of

pine, or

some other evergreen, placed

engraved
with
the

in

bron/e
of

vase
crane.
in

representation
tree

The crane and

Japan

pine

are both

associated

witli the idea

of venerable old age.

The above may

combinations,

capricious

as

some of them
vessels

appear, serve to illustrate the

manner

in

which

and

flowei-s arc

used together to express an appropriate sentiment.

Sometimes the harmonious connection between the two

is

based

merely
for

upon

a resemblance
is

in

the

name

of

both.

The

clematis,

example,
Telsii

called

Tesscn
this

{Tclsii-sc-u)

and
often

because

the

word

signifies

Iron,

flower

is

placed in a rough iron vessel. (See Plate LIX.u)

The
bell-like

native

nam
)

for

the

wistaria

is

Fuji,

and

the

ornaments liung

the eaves

of temples

being called

/f=

ARRANGEMENT OF FLOWERS.
Other
general
directions

aie

give

tht

style

ol

arrangement suited

special kinds of vessels.

In

llcUi

asci

the

llcral

tks,f,n

mu.l be irran^ed
,h,. class
l,a>..,,

.n the

honzontal lr.an!,k style

..

should suggest phnts hi.ig.ng ovc. a In w.th or i^.lhout 1 SInam,,

cl.lf

aul
of

v-..e.

a .noml.

.he s de

,he

not eut .he edt,e ol l.nes of the flowers .m.st

the aperture

In

i^andnig
lowei
1

u
one
t
i

of

imboo

uitli

\.\so

cj

LnM^s

the upper

month should hold a

Int
I

and

the

//"//
t i

^ccordance
llie

ith natural

scenerj

which the tree

ranches occ.ij a

^Wx

os

than

flant^

Often

the

sime

flow er

is

used

ni

b 5th

mouths of the same \e5sel

distmction
IS

\shich case

some such

the

loUowmg

exists

Supposing
a style
in

pme
call

branches to be arranged in both openini,s

Ld the hill ani

t
I
1

alhy

piiies

is

adopted
trees

which the

ranch
the

lepresents

the

pme

on the summit
hill

an

lower

branch

those

at

the base of the

The
an
I

idea of distance must be sugi,ebted

ihit ol prONimity

the

hrmer

the latter

II

the

bamboo \ase ha\e one top openin^

a composition called
is

and two side apertures

tlie

hdl
this

and water

style
is

followed.

To convey
in

idea a mountain tree

in

placed in the top, a land plant

the

middle,

and

water plaiil

the

bottom

opening.

Sometimes an arrangement

exacdy the

reverse

of this

is

devised

in

order to
hill

express the nation of a distant landscape with a mountain lake above, fields on the
slopes,

and a
contains

forest

at

the

base.

In

such a composition,
is

the

uppermost mouth of

tlie

vessel

a water plant,

a land plant

placed

in

the middle aperture, and

a tree

branch occupies the lowest position.

The

tree branch should

be arranged high to preserve

the idea of a near foreground; the land plant, expressing middle distance,

may be

of moderate
character,

proportions

and the water plant

at the

top must be kept small and cramped In

to suggest distance.

=^

1=

g
.

ARRANGEMENT OF FLOWERS.
,

v;

if

1 /m- ta ..d,
but
the

it

'"^ kind. must be supported by a //"'" "^

s

Plant,

alone

may be combined,
it

eompos.fon must

^^^^^^^

XXX,... with a space between. V often divided into separate groups , v/,,, ,*,,.. n,l techn.cally called the / .%-./... and between each clump is .f u-ees are used, .be interval .f water plants are arrangement, the one-tenth of the height of i, should be equal to about the same proportion, between them is regulated m .,sed in divided groups, the distance Supposing such water plants to be this spacing. but different terms are used to denote said to be in the Fnh-r...^ is ar^nged side by side and in a line, the composition sa,d to be composed front of the other they are style but if the flowers are placed one in here drawn between the By a curious fancy an analogy is in the Fish-sl.rti,,g style. swmimmg or broad vessels and that of fish such relative position of the plants in
sporting in

s.o,

to ,ive

an appearance ^

^^-^ZSI^lsJ^L

and XLIX.,.

lake

or stream.

The arrangements

of

trees

or

plants

in

water basins,

whether

in

single or double groups,

all

must be always more towards one side of the vessel

than the other,

disliked. formal and symmetrical compositions being

In Hcr'sc-lubs the

employment of

tree

branches

is

prohibited,
rules

and plants of one or

as are given for

two kinds must be used.

Saud-basiiis,

With regard

to spacing, the

same

apply

If

a pair of similar vessels

containing

floral

compositions

be

used

side

by
as

side,

the flower arrangement in one should be as nearly as

other, reversed
;

possible of the

same form

the
^-ase

but the colours of the flowers should be varied.

For example, one

may

contain

red

and

the

other

white

flowers,

with the stems or branches of both

not,

dispo.sed in nearly similar lines.

These symmctical arrangements are

however, often

resorted

to.

In Floiuer citariots

it

is

usual to arrange the seven flowers of

Autumn; with
to

these

are sometimes combined other

difierent kinds

Autumn

grasses,

making the number up

nine

or eleven
in

of plants.

Such elaborate combinations, which are not generally allowed

other flower vessels, are from their richness technically called embroidery.

WATER

IN VASES.

Various rules are observed as to the use of water

in

flower vessels.

In Spring

and Autumn the vase should

be about nine-tenths

filled

with

water;

in

early

Summer

FLOWER

VESSELS.

CHOICE OF FLOWER VESSELS.

Tim Japanese
the
Moral

flower artist recognizes a distinct and important connection

between
points

composition

and

the

receptacle

in

which

it

is

arranged.

Some

of
tlie

relationship, such as that of the proportion in height or breadth

distinction

between the two, and

lor

between vessels used

mentioned.
are

for land

plants

and diose suitable

water plants, have

in

been

already

But

there

are

other

more

subtle

harmonies
itself

taste

and
art,

sentiment

which

carefully

observed.

flower vessel, being In

such,
for

a work of

may
tion

possess

different

.esthetic

cliaracteristics,

example,

as

rustic

simplicity,

elegance, or richness.

Its

shape, material, or decoration

associations.
in
all

may

also convey to the imagina-

various

feelings

and mental and are

case
in

Flowers, too,

possess different qualities in

form, colour, or growth,

Particularly
is

countries associated

with
or

special

poetic

attributes.

this

the

Japan

where hardly a

fete

pastime exists In which

flowers do not play a

tradition

part,

and where almost every blossoming tree has some romantic

intrinsically

of

its

own.

Apart from the character

belonging

to

the

flowers

themselves, their

artificial

treatment in the flower art under consideration imparls to them

other characteristics varying Avith the style of arrangement adopted.

Thus one composition

may be

full

and luxurious,

whilst

another design

made

with similar flowers

may be

simple

and even austere.

Considering, then,

that

both

flower arrangements and

it

flower vessels

arc

works

of art capable of distinct

spirit

artistic

e.\pression,

becomes a matter of importance

other.

that the

of the one should accord with that of the

This harmony of sentiment need

it

not necessarily be
well-judged
\

one of complete unison

on the contrary,

is

often

produced by a

By way
the
vessels

of illustrating this

intimate connection

between

floral

compositions

and

containing them,
:

may be

given the following ten

artistic virtues

attributed to

certain special combinations

Simplicity;

expressed

by rushes and

irises in

a two-storey bamboo

vase.

Aspiration

denoted
by a

by a vessel of decayed wood containing a climbing creeper.

a pine branch entwined

^y//(,;;

, the

character attributed to
wistaria.

a bronze

basin

containing

g^

ARRANGEMENT OF FLO WERS.

STONES AND ROCKS.
I

In

1 r, aclclition

t to

tlip uic

flower? iiutv.-i.

vessels,

and

fasteners, all

of which contribute to the

.

conipletion

of a Japanese

floral

design,

stones or rocks are sometimes

added to arrange-

lakelets, in oilier

Ihese stones important part in the ments of water plants and play an bowlders which form stepping stones over streams and represent in some cases, the laige meant to suggest islands in extensive water scenery.
compositions.
it

Again

shallow vessel,

instances, they are plants are used in combination in a large sometimes happens that land and water suggest the dry bed or the banks and then the stones are disposed so as to
river.
tire

of an placed
flowers.

adjacent

near to

flowers,

the white ones being Both white and black stones are employed, and the dark ones in parts of the water where there are no
in

The

flowers

are 'arranged

front of or

behind the stones and must not appear

to

grow out of them.

a flower basin are generally distributed according

The

chief ornamental
principle

stones

in
is

to the favourite triple

which

applied also to the lines of the flower composition,

licavctt,

under the distinguishing designation

of.

carlli,

mankind, conveying

in
is

the present

case the idea of vcrticality, horizontality,

character and

and intermediate form.

flat

One

stone

of vertical

supposed to resemble a mountain, one of

which
is

and nearly horizontal character,

and the
ter.

third,

placed between the other two, partakes of an intermediary chrac-

Other

stones

of secondary

importance

are

added to set

oflf

the larger stones and

generally to connect the whole composition.

The

use

of such stones

may be

seen
In

in

Fig.
18,

25,

where they are arranged

is

in

large ba.sin together with wistaria flowers.

Fig.

on the previous page,

shown

a fancy arrangement

in

which blocks of charcoal are employed instead of stones.

FLOWER TRAYS AND STANDS.

AU
upon a
standing flower vessels, with the exception
tablet

of the

Flaojer-iasids.

are

placed

.square

of polished
dais

or lacquered or
shelf

wood,

interposed

as a protection between

them and the

surface of the
for

on which they stand. under

A
not

story

is

related else-

where which accounts

reasonable

the absence of such tablets

to

Bower-baskets,
are
likely

but
to

a very
stain

explanation

seems

be

that

these

baskets

or

FLOWER
a inverted bronze

VESSELS.
wislari

Furin. by way partly of a play ujjon the two words, the

bell.

(Sec Fig.

i6).

Certain

writers

go so

far

as to

classify

flower vessels according to the seasons,

recommending,
vessels
;

for

Spring arrange nienls. bamboo vases, bronze vases, and

compositions,
for

narrow necked
tubs,

for

Summer

flower-baskets,
designs,

bronze basins, wooden

or other
for

broad-mouthed vessels;
those
of

Autumn

boat-vases,

and porcelain vessels, and

vessels.

Winter,

gourd-shaped

vases,

and

narrow
for

necked

However

rare

and

valuable a receptacle
that purpose
;

may

be,

it

must not be used

utensils

holding flowers unless intended for

jars, jugs, pots,

and other

having special uses of their

in

own

should not

be emp]o)cd

for floral

arrangements.

Tliis rule is apparently violated

the case of such im-

portant flower-vessels as the Horse-tub,

tions

WcU-hukd, and
their

Flower-boat.

But these are exceprather to the original

which custom

has sanctioned,

and

names have reference

models from
in

which they are copied.

In each case, moreover, there

is

a special connection
that

idea between these rece(Jtacles and the flowers placed in

them,

so

the

result

has

no element of incongruity.

In
ait,

such

matters,
in

however, considerable license

case of floral
is

is

allowed to masters proficient rooms,

in

the

especially

the
all

designs

for

tea

where

the

employment

of

curious vessels of

kinds

permitted.

Some

of

tliese, sucli

as the Piuk-pol,

Oc/opiis-pot.

and

others, are Illustrated in Plate

XXX.ii.

few

general

directions

are

laid

down

as

lu

the particular kind of receiilacles

suited to certain flowers.

For flowers of large-blossom, such as the peony, the Chinese basket

the

is

preferred,

peony being considered the

principal
ofl"

flower of China.

Moreover, these large baskets

are in character well suited to

show

the ponderous blossoms of this planL

For most water

are
best
suited,

plants,

low basin-like
requires

vessels,

or vases

with very broad nioullis,

to

but

the

narcissus

narrow necked vessel

sliow

it

off to

advantage.

For plants of short and stunted growdi, having large

chosen
;

leaves, a tub-shaped vessel

is

and
is

for

the

wistaria,

lespcdeza.

and lurria japonka some kind of suspended

receptacle

preferred.

FLOWER
In

ITSSELS.
several mouths,

79

arranging flowers

in

tall

bamboo vases which have

tlie

com-

position in the upper openings should

whilst

assume the from of the horizontal or leaning

in th,- style of

triangle,

that
Fi.g.

in

the

lowest

mouth should be treated

the verticil triangle,

(See

17).

In
tlie

tlie

case ol a pair of

IVcU-buckels,

the upper

vessel

shoiikl

liave
if

a tree and

lower one a plant.

The rope should be kept

sprinkled

with spray as

covered with
tlte

dew.

Neither of the compositions in the two

Wdl-buckets must be allowed to cross

Instead
of the
is

line of the

rope or chain which suspends them.

ordinary flower fasteners,

WcU-btickcls generally have a perforated lid

or frame which
vessels

fitted in the

top just above

with

the

surface

of

tlie

water.

When
is

these

are

arranged

in

combination

Well-frame, the upper bucket

frame,

suspended and the lower one rests on the edge of the

and
the
In
in

in

such a case the lower vessel

idea

may show

water,

but the

upper one must

it

preserve
visible.

of an

empty bucket, and by no means must the water

floral

holds be

Spring time the

design in the upper bucket should be the

fuller

of the

two, but
In

Summer
the

time the lower one should contain the more crowded arrangement.

Autumn both
upper one

compositions should be simple and quiet

For arrangement

in

double

M'cll-biukcis

lower
of the

floral

design should be of the style used for standing vases, and

the

style

employed
in

for

suspended

vessels,

with a lateral lean

and

Sircama:

Flowers

arranged

square

buckets

should

never

be

placed

e.\actly

in llie

angles or corners of such vessels.

Ill

the

kind

of double

bamboo vase

called

the

Roxo

of

piles,

the higher tube

should contain a land plant and the lower tube a water plant.

In the Bridgc-navel-vasc,

a cylindrical vessel

with

a top mouth and an oblong

tree

side opening, the top of the vase should have a thick

stump or heavy arrangement of

plant, modestly arranged.

branches, and the side aperture should contain

some simple

In Flmver-baskets,

those

with

arched

handles should have the

it.

flowers

arranged

so

as

to

keep within the enclosure of the handle and not cross

is

In very elaborate

compositions this rule

sometimes

violated,

but in such cases the cutting or crossing must

in

only take place on one side, and by no means

the centre of this side.

in

The

handleless

baskets are generally hooked vessels, and flower arrangements the latter class of receptacles.

them

are disposed as for

ARRANGEilENT OF FLOWERS.

,. ..
c.ioally

w., or..
Tl,c

.....^"o-""*"
a
1

-;;/

- ;t^:: :^:;:
not
in

in quarteus,

and to the front of the

case
it

p.ctures. unless
tlie

is

suspended from

lintel

or ce.lmg, o, hooked

flowers be used, in which ang.ng ,,,,,, of ^^ ^^^ ^^^^^^ V

.^J

,t
cl.isli

is

considered
pictorial

in,portat

that

the

floral

composition sitould

any way

, cnner a> re.'ards position, line, arrangement, ,.|,i,,.r as composition. harmonious decorative The two together must form a

subject, or sentiment,

with

tlie

When
placed,

only one wall-pamting

rule,

,,

..

is

oi vl,:hlt,.d the vase of flowers cNhibitcd. tne

if

in

front
.

siiould
,

be
,

as

a general

rather

to

one side;

two pictures arc hung, a single floral

between them; design should occupy the interval

in

the ease

of three

pictures,

two vases

with four pamtmgs, three opposite to each interval; and of flowers should be used, one In tlie last case, instead of using maimti. a . mr.if^v,.f1 in T similar manner. a flower compositions arc empioyca a ...!, r^nhf-il ^nare is sometimes occupicd by a statuette or j i the central space ib iuiiicuiiiv.3 ^j three floral arrangements,

Varies conlainin" flowers

are

often

elevated

upon a small raised stand or

is

table,

employed instead

of the

flat

board

or

tablet

which

placed under most flower vessels.

floral

One

kind of table used has a shelf below, on which a very simple

design

may be

arranged, and

when so employed the top

of the table supports

some other ornament.

The
the flowers on

proportions of the Kaketiioito

tlie

or hanging

picture

influence the

disposition of

dais.

In front of a long

painting, the floral

jjicture. called

composition must be kept

a

as low as
Uie flowers

[jossible,

but

when a
and

short and broad

full

Vokomom,

is is

displayed,
to prevent

may

stand high

in

arragement.

The

object of this rule

the mural painting from being hidden

by the

floral design.

The same

result
in

is

often obtainIt
is

ed by placing the vase of flowers to one side of the recess, instead of

the centre.

sometimes

unavoidable

tliat

the flowers

cover part of the picture, but under these circum-

stances special care must be taken not to hide that portion

ture of the artist

bearing the

stamp and signa-

Tlie centre, ends, and tassels of the ornamental roller forming the bottom

border
flgures.

of the
the

painting

must

never
figures
if,

be obstructed.

When
happens,

the

pictorial

work contains
the

features

of these

must

oti

no account be hidden
the picture

by
is

branches

of the

flower arrangement,

and

as

occasionally

inscribed with

poem

or proverb, this writing must be exposed to view.

FLOWER
nearly
full,

I'ESSELS.

and during the

hottest days of

Summer
seems

hrim-full to overflowing, the rim of

Lo

vessel being oiled so that the water actually

pile

up above the edge.

In

Wii
col

lime

the

vase

should only

lie

four-fifths

full,

and as

litde

as seven-tenths in the

When
water
forms
accordingly

water
part

plants

and

grasses are

arranged
the

in

broad

shallow
of
its

vessels,

the are
is

of as

the

composition,

and

different

portions

surface

regarded

having different properties.

life-giving,

The water

nearest the

flowere

supposed to be moving and

the
portion

and must therefore be

is

free

from

floating matter

removed from

the

flowers

considered stagnant and

may

contain

floating

weed

or leaves.

To add more
appearance
Is

to

the

fresh
it

of floral

compositions

customary to sprinkle the outside

,

of flower vessels with spraj

ing the idea

convej

of

dew.

Metal \asLs
but nearly
vases are
all

should not be wetted,

pottery

or

porcelain

so

treated aftci

the flower arrangement

has been
is

made

The

celadon

vase

said

to form

an exception to this
it

rule,

because
witli
air.

becomes

naturally

covered

moisture

condensed

from the

It
is

often happens that a vase

filled

with water, but without any

is

floral

composition,
there
is

used

in

the alcove of a chamber.

Such an arrangement

resorted to

when
in

picture

on the wall of the recess representing some flower of the season,

in the

which case a

few petals of the flower represented

vase.

painting

may be
is

put into the water of the

for the

vessel simply containing water

at

and no

flowers,

an appropriate ornament

chamber
tion

a moon-viewing party, or when a picture

of the

of the full

moon

is

displayed, the inten-

being to suggest the idea

moon

reflected in a lake.

Sometimes a few maple

leaves are placed in the \a.se in order further to sustain the idea of a natural sheet of water.

gg

ARRANGEMENT OF FL O WERS.
their

extolling
fanciful

beauties,

as

they
in

are

f apt

t to

r^^rrifC the resiriiL

imagination anti detract from the

sentiment conveyed

the poem.

Reference
vegetable
life,

has

Japanese. used as favourite art motives by the

lions

associations from animal and been made elsewhere to the double Such combinations are ;-

bamboos and sparrows,

and

peonies,

nightingales

and plum blossoms, deer among

maples, ivild-horses amid (lowering grasses, and

many

others that might be mentioned.

A
of

combination of /lowers and picture so as

is

to to

produce a connected composition of this sort

such a method of combination,

considered very desirable.

in

According
it

picture

deer requires
flowers,

front
lions

of

an

arrangement of maples, a painting of horses needs wild

the

one

of

necessitates
for

use

of peonies,
in

and

representations
In the

of

dragons
with

demand pine branches

figure

the

floral

designs

the foreground.

same way

paintings,
flowers,

when die
such
flora
for

figures

represented
if

are

traditionally associated with particular

trees or

should

possible be

employed

for the flower

arrangements
of Fortune,
pictures
is

used before them.

displayed,

When

example, a picture, of Hotel, one of the

should

Gods

bamboo
children,

branches

be

disposed
with

in

front,

and

before

of

Chinese

common

subject

Japanese

painters,

coloured
floral

Ilowers

are

appropriate.

The connection
occasionally

of idea

between the wall painting and the

of the
painter

composition
fiction

is

one biscd upon

is

the reputation

or

upon some
7o-Eiiiiiivi,

with

which
are

his

name

associated.
in

famous Chinese painter called

is

whose works
passion
for

gready

valued

this

country,

said

to

have

professed
it

a
is

great

chrysanthemums, hence, Avhen a painting by

this artist is displayed,

customary to use
to

chrysanthemums
the
special

in

the

flower

arrangement.

Plum blossoms are reported

have been
therefore

fancy

of another great painter AV/-Afert', .and these

flowers are

placed before his pictures.

This
except in

kind

of combination

is

quite

irrespective

of

the subject of the paintings,

If

cases

where other important rules would be

in

violated.

the particular flowers

required are

represented

the paintings,
selection

it

would

then

be

an

error to use the

same
tend

natural flowers in front.

to
tlelract

Such a

would not only he redundant, but would

It

from

the
in

excellence

of the

painting.

must

also be

remembered

that the

pictorial

hangings

a Japanese

room
is

are frequently changed

and are not displayed conin

tmuously throughout the

year as

the

custom

with

oil

paintings

European rooms.
floral

Ihey are quite as much

tions
are.

an e.xpression of the season and occasion as the

therefore,

composiare

The contingency,

of

pictures

requiring

flowers

which

out

FLOWER

VESSELS.

iner vessel wliich

stems.

holds

tire

wMcr ami
fixed

tile

flower
the

Even

such

simple
its

object

as

vase-tray

or tablet has

measurements,
fans,

and a few fancy forms

circles,

in the

shape of open

or

segments, arc
nat tray
is

not

uncommon.

Some-

times this

replaced

by a small orna-

mented stand or
Intended
small
to

table of carved or lacquered

raise

wood, and give more importance to

flower arrangements.
in

As

previously stated,
vessels

excepting

the

case of the low tub-like

intended to suggest water scenery and

used

for

water

plants,

the

surface

of
in

the

water and the

fastener holding the stems

the vase, should be

little

above the eye

level of the seated spectator,

so as not to be visible without effort

Some
These are used

flower-stands exist which are of considerable height, having a bottom

for

shelf.

Incense Meetings,
tlic

in

which case the top of the table carries an orna-

mental incense burner,

shelf below being occupied

ol different trays

by a very simple (lower arrangement.

in

(See

1-ig.

19).

Examples

and stands are shewn

Plate

XXXI.u.

ARRANGEMENT OF FLOWERS.
90
the designs sliould occupy

A ais^^^^^ the of

Toko-no-ma,
^^^ ^^^^^

but

for

small and secondary

floral

or arrangements the Oilgci-itM"

of the three plained in the case

rrcpia,

^^^^^^^^^ -

employed.

As

already ex5,,l3

opemng-^^^
fl^_^^
^^^^^^^

^_^^^^j,^^j ^^^^^ ^^ f^^

,;^^ ^^

^^^
^^^^^^ ^^_^

^^^^^^,

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

^^

..e

shelves.

.r,,e
.n

arran.em^ts of
'^'^J'"'^'^ """

,..covered

..

branches

growU. observable
are chosen, for

|,^^

,,d

^/, are
If

selected,

and

for

the

^^f^^^
tin
the
in

"

::rdr.tmrdrsC

.J

i:;!,,
...

be em^oyed.

;^

an^ ,n the same recess, .^ '' cupboard about eighteen mches constructed an ornamental .ith flower des.gns, and, , cupboards are often painted slides of snch vases paced on the adjacent shelves. vaata 1 1 13 f n similar kina n j flowers ol a cimihr l;ind 111 taken not to use natural

on

she. may have

.-. branches be

,.,.. instead of .ater

^^e.
.

;s

occa.om^

;^

/ -^ "- Tol:o-,,o-,a. or

as to the Strict rules are established

pal
it is

exact position
First,

in

the

princi-

recess stated

to

vessels. be given to suspended

in

with regard to Boal-shapcd vessels,

diat

the ceiling or

lintel,

a distance of about three feet from ancient times they were hung at In later times it became exactly in the centre of the recess.

and

customary? however, to suspend

of the
recess,

them,
pillar,

at a distance

equal to about a quarter of the span

from

the corner
light.
If,

which
not

is

always on the guests' side of the room,

together,

being that nearest the

as

is

uncommon, two Boals are suspended

lintel,

the upper one should be about sixteen inches below the the same
distance above the floor of the recess
;

and the lower one about

is

but this height

sometimes changed

in

order to suit the wall picture.

The

direction

given

to the

prows of such

vessels,
in

so

as

to

suggest different
to the under

ideas of motion, has been already explained.

sides of ornamental shelves or cupboards,

Boats are

some

cases

hung

Wcil-l'uckcls

are
to

not

considered

suitable

for
in

the

recesses

of important rooms,

unless

tliey

happen
:

be a

gift

from a superior,

which case they may be given the

rooms.
raised

place

of honour

they are, however, frequently resorted to in second class

used,
it

When
about

one bucket only

fifteen

is

is

placed standing

upon the

floor

of the

recess,

inches from the surface by a stand of

the

some

sort,

and removed about eleven inches

In the case of two

from

corner

pillar,

.Square

buckets must be placed angle-wise.

suspended buckets, supposing the height

into
tlirce

from

floor to lintel of the recess to

be divided

parts,

die

top

of the

lower

bucket should be one third, and the top of the

dais.

upper bucket two-thirds, of

this height,

from the

The bottom

of

the

lower bucket

POSITION OF FLOWERS IN ROOMS.

thus becomes about eighteen inches from the floor of the recess, and
small tabic, or on the edge of a stand representing a well-frame.
pulley will be
is

91

supported upon a

The

position of the wellpillar,

about one third of the span of the recess from the corner
tort,
it

and the

rope of the lower bucket being inclined and

recess.
If,

will

be brought well to the side of the

its

as

is

usually the case. Hat-sided buckets are used, one will have

sides parallel

to

the wall,

and

the

other will present

to height,
is

its

angle to the front.

Occasionally the above

is

mentioned proportion as

violated,

and the lower bucket

placed immediately
the Mossyslab

upon the

floor,

with the interposition

only of a board.

style

exists called

spring 'buckets

in

which

this

board

is

sprinkled with stones and moss.

Sometimes a

of decayed wood, or an irregular row of

are used under the lower bucket.

bamboo

tubes resembling a Japanese

drain-board,

The
other,

PiUd-buckets, consisting of two standing buckets,

are placed

one supported on the edge of the

upon a Hat drain-board immediately

on the floor of the recess, and near to the corner

to the wall

pillar.

One

of these should be parallel

and the other placed diagonally.

Hitherto
disposition
in

flower

compositions

have

been

considered
cither
in

with
Uu;

reference

to

their

the

permanent recesses of chambers,

Chigai-dafia.

Toko-no-ma,

or on the

fixed shelves

of the

Other

^-^^

fancy arrangements, having no connection with

the

^p.,

5^

chamber
rare.

recesses,

also

exist.

^^^1^

though they are

Among

such
floral

may
de-

be mentioned the arrangement of

signs upon
Cabinets,

and Flowcr-horscs.

The
cause
it

Flower-horse
in

is

so

named be1

is

made

imitation

of the

mental
used
either
in

clothes-horse

or

frame

which

is

Japanese

sleeping

apartments,
for

for

hanging garments upon, or

large
strips

carrying

of

rich

curtaining

serving

as

screens.

The

construction

of

such Flowcr-horscs consists of two vertical

and two horizontal bars of lacquered wood,

framed together with the lop bar projecting
at

the

ends,

the

bottom

bar
short

being
cross-pieces,

steadied
square.

and supported upon

Such frames
vessels

In the example given in Plate

XXXVIL.

of different kinds containing

ARRANGEilENT OF FLOWERS.
.. -.r,. liiinir to 1 are liung floral arrangements bronze vessel containing an arrangement of small suspended a crescent-shaped hand pillar are hnng a cylindrical vine; from the right chrysanthemums and a trailing of Palrmm ucbos^/oUa. mouth containing a drooping arrangement
variety
ntre

tne the side

posts

and

cross-piece.

From

the

of

is

bamboo
and
of

vase

with side

below, a globular basket with a

tree
;

composition of carnations combined

are fastened a

with the branch

some

and

to the left

hand

pillar

hooked bronze vase with Pafiaiw

double

rhxas.

and.

below,

a horn-shaped

bamboo vase containing a

arrangement

of

Plalycodon grandiflornm widi barley.

There
with shelves

exist als
c.tbini

fancy kinds of flower-stands,

made

of the Flouier-honc combined

and

Is.

and

on which

standing,

hooked, and suspended flower corn-

positions arc arranged.

Flawcr-iabiiiits,

in

their

simplest

form, consist of

two small shelves -of

black,
floral

different

heights

connected

by

vertical

and horizontal framing,

cabinets

lacquered

and ornamented
is

with

metal.

For the upper

shelf of such

drooping

design

generally
in

adopted, and for the lower shelf a standing arrangement.

In the example

shewn

Plate

XXXVII..
porcelain

the top shelf supports a bronze

vase

with trailing ivy.

and the lower

shelf a

vase containing asters.

It

The same

illustration

shows a fancy cabinet

shelf supported

called the

TItatchcd-kiosk.
posts,

consist

of

a bottom board,

with

raised

on bamboo

and covered by a

rustic thatch-roof.

The

shelf carries a

bamboo vase from which

springs a creejjer. arranged to pass over the roof and

hang down the side as a Streamer,

Other
(lowers.

articles

of furniture are
exists
b.lrs

sometimes pressed into service

gong-frame,
with

for

the display of

An example

of a

triple

one upper

and

two lower
kinds

openings, from the cross

of which

cylindrical

bamboo vases containing

different

of peach blossoms are suspended.

A
blossom
in

great

fancy prevails

for

collecting

blossoms of ceruiin favourite trees and plants,

and displaying together difterent kinds of T he use of distinct varieties of the same

opposed to the somewhat austere rules of the art of floral composition, but such specimens are sometimes displayed in separate vessels arranged on stands. The regent Hideyoshi is said to have devised an arranoement of five baskets of green bamboo disposed j" on the two shelves nf a /'lower v, sv,' snelvcs ol
is

one arrangement

,.

tiillercnt varieties
, .
,

of the

cherrv h!ns.;om > Olossom.

gardening than to chamber decoration.

Stand, and containing Q,.,.i. Such arrangements, however, belong more to

,

POSITION OF FLOWERS IN ROOMS.

Some
writers

93

go so

far as to

say that the

floral

design

in

a chamber should have

is

a contrast in style witl\ that of the

it

.idjoining garden.

Tliis fancy

belter

appreciated

if

be remembered that during a great part of the year the outer walls of the Japanese house,

whicli consist almost entirely of paper slides, are

thrown completely open.

hills,

If there

be a
in

landscape garden

adjoining,

consisting

of lakes and

the
;

floral

arrangement
the garden

the
level

room should by preference partake

and waterless,
then

of a moorland or

character

but

if

be

water

plants

mountain trees should

be

selected

for the

flower

decorations of the chamber interior.

CEREMONIAL AND ETIQUETTE.

fejJfHE
.

Art of nrranging flowers

rules

in

japan

essentially

a polite accomplishment, and

is

Xjj[^ governed by important

presumed
visitors
;

and
lade

regards etiquette and ceremonial.

It

tliat

all floral

desigi

mainly with the object of giving pleasure

and on
to

certain

ceremonial occasions they

actually

intended

convey
in

a silent

compliment to the

principal

guest.

Receptions given

rooms where flowers are arranged,

in

often
f>^";'

partake of the character of Flotoer Medrngs. the guests

spccting and admiring
the
host's
floral

turn incalled

design,

or

being

upon by him to make compositions of

their

own.

^*.
his

In attending such a reception, the visitor should leave

fan
in

the

antc-chaniber

and, approaching within about three feet

of the

recess, seat himself In the old ceremonial attitude, with his

knees

bent and

the

body

resting

back on the

heels.

One hand
must

should be placed on the knees, while the other respectfully touches

the

mats

in

front,

tlie

body being
is

slightly

bent forward.

It

be

remembered
the

that

there

always

supposed connection besurface

tween
and

pictures

which

adorn the

wall

of the
in

recess.

the

floral

arrangement standing or hanging

front.

The
if,

truest should, therefore, first

regard the Kaicmojw or picture, and

these,

as

is

often the case, tliere are three of

he should examine
one.
of

first

the central, then the

left

hand, and lastly the right hand

admiration

Having
the

thus

bestowed

his

upon

the background

scene,

he
in

may
the

slide

little

closer

and inspect the

so

floral
first

composition

foreground.
lino
left

In

doing

he

should

observe
gradually

the

central

of

the
right,

flower

arrangement,
top
to

and

dien
of

examine

and

and from

bottom

ARRANGEMENT OF FLOWERS.
96 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 branches and peer too face behind the the ipolite to put I It 's cons guest slides a little back and regards inspection the
;

tlie

composition
wliicli

in

the

tUe

li:chiiiqtu\

closely

into

the

flowers.

Mer'Vuch
a

the

whole composition

from

respectful

distance,

using

suitable

expressions

of

actually go Rules of etiquette admiration. <-' designployed in admiring different

give the exact expressions to be cm-

'

apply lonsidered bad raste to

indiscriminate-

,y

exaggerated

terms of prai^

with the character of the particular flowers.

^^.^.^,

When

floral arrangement inspecting hanging

^^^^^Z^^

,,,,

should be

changed

for

posture. standing and stooping

A
and
all

visitor
is

is

often

which purpose he

present

extemporary ed to make an certain suitable flower stem

ih

ngement of

flowers, for

blossom-clad branches,

the necessary utensils

and

ilements.

On

such occasions the host must provide

a vase, three
quarters
filled

with
in

water, which should be

placed

the centre of the

iray or tabic

recess,

upon a
slieet
this,

spread with a
In addition to

of

paper.
tray

flower

with
cut

two

or

three
as

kinds

of

flowers,

just

gathered

with
twigs

withered
left

leaves

and

dead

intact,

"^^

pair

of scissors,

a knife, a small
flower-cloth
or
dais

saw, and a folded

duster,

must be placed on the

to tlic left oF the vase, or in

some
floor

convenient
of
the

position

on

the

chamber.

The
of
all

length.

width, and
flower-cloth,

manner
are

folding the
prescribed.
utensils

Near
implements

to

the forked

above

and
for

must be placed

jug
IS

full

of water,

and several

twigs suitable
23.

Flmvcr-fastcncrs.

These

varic
,

tools

and

utensils

are illustrated in Fig.

Others,

such as a hammer, and plane,

employed.

After

asking

guest to

arrange flowers, the host should

to

riill

lip

JAPANFSF. INTERIOR.

ARRANGEMENT OF SPRING FLOWERS.

CEREMONIAL AND ETIQVETTE.

as it is considered ,o be dc,uli, too ,M,cl, of a expect h,m to e.xte,pori.e a flower arrangement in l,arn,ony with ,l,e picttu-e to decorate the recess at the time. The guest n.ay, :,owever, prevent the pa,nt,ng from bemg removed, thereby tacitly undertaking
v,s,tor to

.he Kal:c,o,n, l,icl, adorns

,1k- recess,

wl,,ch

happens

accord w,tb
for

,t,

holdmg the

floral

to make his flower composhion Sl,onU the master of the house produce a very rare and valuable vessel arrangement, it is polite for the guest to

make

objections,

pleading

want of

sufficient

skill

to

do

justice to so precious a receptacle.

flowers,

If pressed,

however, he

must attempt a smiple and unassuming .arrangement of

the mer,t

so as not to detract from

insufficient
for

of the

vessel

itself.

Should the host

produce

an

quantity

of cut

flowers, the guest

must make the best of them and on no account ask

more.

The
which

visitor

who
is

is

about to

make
seats
is

floral

composition approaches the recess

it,

in

the flower vase

placed,

and

himself sideways towards

left side.

facing

the

light,

ivhich in

chambers of a superior kind

as
possible,

on the
in

He
regard

then fixes the

flowers as
point imIf the
it

quickly

changing his position

recess,

order

to

them

from

mctliately

facing
is

the

and altering and correcting them from

this position.

arrangement

intended

to

have a connection of idea with the hanging

this

picture,
if

is

placed fronting the

nection
floral
is

edge of
it

picture,

on the side nearest the

light

but

no con-

intended, then
project

may be
the

disposed centrally.
corner
pillar

Under no circumstances must the

recess.

design

beyond

of

the

Having

completed
fill

the

composition, the designer should, as a matter of compliment, ask his entertainer to

the vase with water, and
if this

up he
the

request be declined, he
this

may

then replenish
correct

it

himself;
to

should

not,

however, press the host on

point,

because

judgment as

amount
flower

of water suited for different arrangements requires considerable

art,

knowledge of the

and
is

it

is

possible

that

the

host

may

decline on account of ignorance.

is

When

the w.ater

filled

in,

the stand of the flower vase

all

wiped, and the different implements,

tray,

with the e.vception of the scissors, are

entrance, or
flowers
right

put on the

and placed near the serving

are

hand side of the chamber.

invitation to

The
the

scissors

purposely

left

near the
faults.

as

a silent and modest

brings the

master of the

house to correct
leaves

The

host,

dust-pan

and brush, sweeps

up

any

fallen

or

litter,

and

the tray of tools.

If

the

hanging picture has been removed during the arranging of die

flowers,

the guest must

clash with
it

now re-hang
any way,

it,

and see that the

the whole

floral

composition
is

is

placed so as not to

in

When

arrangement
in

completed, the host and any

other visitors present,

who have meanwhile remained

Toko-m-ma or
recess in

an adjoining

room,

enter, and,

approaching

in

turn the

which the flowers are placed, salute and

ARRANGEMENT OF FLOWERS.
inspect in the
his admiration

manner previously described.

to the floral
in

The master

of the

house naturally confines

find

arrangement, but the guests should also

is

compliments

for

the receptacle
visitors retire,

which

it

placed.

After the

Flower Meeting

is

concluded

and the

the o-uest

who

has arranged the flowers should remove them from the vase,
stands, or

placing

them upon the board on which the vase

unless
for

on the wash-basin of the adjoin-

ing

verandah;

he

is

specially requested to let his

work remain,

it

is

considered

presumptuous
This
rule

him

to quit

without destroying the evidence of his

skill

(or clumsiness). to be.

does

not apply to visitors of very superior rank,

who may be considered

indifferent they

show honour

to their host

by leaving their designs

intact,

however

may
a

'oliteness
I

during

such

meetings

is

considered

so

important

that,

if

rule

be violated through ignorance or incapacitj' on the part of the entertainer, the

try his best under the

circumstances, and must do

nothing to

call

attention to

the error.
for a

As an example, may be given

an
are

the instance of a host producing scented flowers

visitor to
is

arrange at an Incense Mceliiig,

which

occasion

on

which

flowers

v/ith

perfume
such
a

prohibited.

The guest must

flowers,

in

case

use

the

removing

the

full-blown blossoms,

and making an arrangement

of buds

alone in as simple and unassuming a

possible.

manner as

In

giving presents of cut

flowers for

the

purpose of flower arrangements, they must

be trimmed, or they
will

not

look as

if

they

had been previously used.

however,
in selecting

The sender must how they

are

them, consider
floral

capable of combination into a

composition,
for

and must include stems and branches suitable

the accessory parts of the design.

Such flowers

should
in

have the bottom of their stems placed

fancy paper wrappers. The form of paper wrapper suited to tree branches and that used
for plants
differs
slightly.

When
flowers,

flowers

are

offered as presents, the

number
open

of buds should

exceed

that

of

the

and

thej-

should be accomjjanied with withered or worm-

PLATE XXXIX.

JAPANESE INTERIOR.

ARRANGEMENT OF SPRING FLOWERS.

CEREMONf.lL ,IND EriQUETTE.

e.itcn

99

leaves,

and cobwebs.
recipient

.-,11

left

i,u.ict

so

as

to

look as

if

the floweri were freshly

gathered.
best be
suitable

The
a

of such

presents should carefully consider

e.-ctensive
it

how

the cuttings cin

arranged without injury or

for

alteration.
is

If

they appear to him quite un-

proper

floral

composition,

better to place
is

them

in

a vase as they are

than
held

to
in

attempt a formal arrangement.

In Fig. 24.

shown a branch of plum blossoms

a paper wrapper.

Presents of flowers are

sometimes m.^de to superiors,

quite

in

a hind of handdnicliel,

which should be of white

placed
holes
in for

wood and

new.

Several sorts of flowers arc i^enerally

lids perforated

such
the

vessels,

which are furnished with

with four or eight square

purpose.

When

such

a present

is

received,

it

may be

put on one of the

shelves of a recess in a reception room, an emply vase being placed on the dais.

In
particular

a previous

part

of this

work flowers considered

It

specially

felicitous

during

months have been enumerated.

floral

remains,

however,

to consider,

under the

head of Ceremonial, certain

the

arrangements which are fixed

In

for import.iut festivals.

first

Of

numerous

fete-days
five

celebrated

Japan,

may be mentioned
Go-sckkii.

that of the

New
all

Year,

and then the

great festivals called

The Go-ukkn

occur in

the

months of the year of odd number, with the exception

four cases out of the
five,
fall

of the eleventh month, and, in

on the day corresponding to the niunber of the month.

FLOWERS FOR THE NEW YEAR.

For the
floral

decorations of the

New

Year

it

is

customary to adopt a

combined
vase.

arrangement of pine, bamboo, and plum branches,

in

a large bronze or porcelain

These

y/OTOcra are,
first,

however, sometimes

use separately, in

which cise the pine

third
left

is

displayed

on the

the

bamboo on

the second, and the plmn on the

day of the year.

on,
is

In

some

cases

a vase of

green

bamboo,

with twigs

and leaves
formed

used

to

hold
it-

branches of pine and plum

self.

trees, the floral

triad being

by including the
at this

vase
:

The

willow

is

a favourite tree

for use in

hanging compositions

season

and

plants such as the

A,h,m mnurcmh

(Ft.kujuso),

Rhodea jafmma (On,oto),

and Ardisia

jafoiika (Yabukoji),

plum. are often employed in combination with Uie

FLOWERS. A/iJ^A^'GEMENr OF
festivals; FLOWERS FOR THE "FIVE
Jay of
of
tl.e

The
jlluJ

scvciitli
tliL

New Yea
seven-plant

tlic

first

of

the

Five

Festivals
is

(Go-seH-n\
of

(Nanaknsa).
ts

This

festival
in

Chinese,

Fete

tlie

oriein,

and

meaning

is

involved

some mystery, hut

with ideas of k.ck in the ,. h Ts undoubtedly connected At its celebration seven different herbs are bcr seven. household tools, and divine beaten with seven different The invoked against the evils of the year.
protection
is

on this occasion do not tliffer flower arrangements adopted three days of the Nciv Year. from those used for the first

The

third

day of the
is

third

month

is

the second of
It is

the Five Festivals, and

called the Fete of the dolls.

the national
richly attired

fete for girls,

which they

celebr.ite

by displaying

images reprensenting the Emperor and Empress

musicians.

surrounded by courtiers and

On

this

occasion

peach blossoms, willow branches, cherry blossoms, the Rliodax

japoiika, and

Rma
1

indica. are chosen for

Hower

designs.

lie
fl

Festivals,

falling

on

ilie

Id)
1

the Fete for boys, called,

this

pa
I

T
olio V
1

U
so as
>,!

day,

large

painted
the the

to

fill

and Hoat widi

in otlie
fish.

ba
n
1

boo
rds

poles

front of

ell ntjs
1

tO]

r
e
I

and one

sel ol

be

ntj e

to

SI

>

least

A
of ban boo
II
I I

of early clirysanthcn
I

1/

/ /

Iso

II

c
/(7

fes

f lis

o
1

Ic

la>
t!

of

tl

seventh

month and
planets,

is

called

r
cd

of

aba
lay

It

s
j

e celeb at

on of
SI
ts
[

e of
1

ee
| i

g
er

of

two

and

is

sup-

o
f
1

be

of
1

ve

good o en
1

inscribed
1,

with

poems and
feasting

boo lie no

as

Tie

and

general

ll

for

con post o

oliday should

be

Platycodon

ndiflorum flCikio).

bamboo, and Anthriscus argiicns (Karukaya). arranged

together; or

PLATE

XL.

JAPANESE INTERIOR.

ARR.WGEMENT OF SUMMER FLOWERS.

CEREMONIAL AND ETIQUETTE.

Palrini^ scahiosa-fcUa
of

,01

(Ominaeshi)

employed

singly.

special

arrangement consisting
their

couple of

suspended bronze boats,

called
is

the Facig Iloals, because

prows
of

face,

and conta.nmg paper cbrysanthemums,

used.
real

The paper
flower.

flowers the

should be

seven colours, and among them should be one

floral

To

Slnauuy

of the

design

in

one of the boats should be hung two, and

of
five

to that of the other, five loops

purple,

of silken

cord
called

different

colours.-white, yellow, blue,

asisociated

and
of

red.

These
to

cords are
the

the

Woi-shipping-mds. being
simila

with the
is

idea
for

worship

planets.

somewhat

method of composition
in

adopted
central

slamling

v.ascs,

seven different flowers being placed

flowers,

three

vessels.

The

vase contains
the

three
tree

of

which

the Principat
(Sakald),
in
all

should
the

be

formed of a branch of

sacred

Cleytra

japomm
designs

and

other

two
h.ivo

vases should each

their

hold

two flowers.
Worship-

The

floral

three

vases

must

stems bound

with the

ping-cord.

The
and
is

last

of the
fete

Five Festivals occurs on the

Its

nindi
is

day

of the
it

ninth
is

month,

called

the

of chrysanthemums.

origin

Chinese, and

connected
its

with a fancy that this flower

in

imparts long
as the

life

to those the

who imbibe an
implies,

infusion of

blossoms
is

wine.

For
used

this occasion,
for
floral

name of

festival five

the

chrysanlhcmmn

invariably
class

arrangements.
for

Flowers of

colours arc

employed
dark
the

for

first-

compositions,
Teriiaiy, blue

white or

the Principal, light red

for

for

the

Secondary,

red

for

the

purple

the

Sub-principal,

and
is

yellow
fancifully

for

Support.
the
three

Sometimes a design
colour

made
the

with
of

(lowers

of one colour

called

composition,
in

green

the

leaves

and the black of the bronze vase being

(Omoto), and
Naitdiiia domesfica (Nan-

included

the

colours.

The Rhodca
displayed

japonica
I

on

In
.l.iys

addition

to

the

Five
special

Festivals
rules

just

enumerated, Uiere
for

are <ithcr

felicitous

in

ll;

year

on

which

arc

.adopted

the

flower arrangements.

For
or
hottest

the

first

day of the sixth month, which

plants

is

the

beginning of the fly-rfiiyj

b.isin

season,

water

should

he arranged

in

a sand

or

broad-mouthed
ice.

vessel,

together

with

while

sand and pebbles, which arc supposed to suggest

1-or

the
fruit

first

day of the cighUi month,

berries,

called

the

Ifassaiu,

the

flowers

used
re-

should

have

or

and

.all

faded

leaves

or branches must be carefully

first

moved.
Shoguns,

Ihis
to

fete

was one
his

specially

honoured by lyoyasu, the

of the

Tokugawa

celebrate

entrance

into

Vedo.

,02

AliliANGEMEA'T OF FL0JV2IRS.
On
the

eighth

cl:iy

of the

eighth

montli white

flowers should

be displayed.

For tlic harvest festival of the fifteenth day of tlic the ripe rice-plant, season should be employed, with the addition of a sheaf of
tion

eighth month, flowers of the

in

celebra-

of the harvest.

The above
of the idea
art

special

rules,

though
arc

hardly applicable
as

to

under

consideration,

inlercstin-

showing how a
design

any European adaptation certain harmony of

and
the
special

should

always

be

sought

between

the

floral

occasion

celebrated.

The
rules

following are ceremonies which

for

may

occur at any period

of the year,

with general

their

appropriate

flower arrangements.

FLOWERS USED AT BETROTHALS.

On
or
viously
this

occasion

visits

take

place

and presents are Interchanged.

in

The
the
this

flower
pre-

flowers specially

felicitous

for

the

particular seasoji,
iris
is

accordance with
for

list

given,

must be used.

The
people,

considered specially suited

object
to

purpose,

unless out

of season.

Some

however,

the

use

of flowers

of

purple

FLOWERS FOR WEDDING

With
amongst
regard
red
to
is

FESTIVITIES.
must be remembered

flowers

arranged for weddings,

It

that,

colours,

regarded as male and

Into

white as fcmak.
bride,

Hence

\\\

the

case
re-

of a son-in-law being adopted

the

family

of his

the

bridegroom
floral

being

garded as the guest of the occasion, the Principal

red,

line

of the

design
the

should be
other hand,

whilst

the

Supporting
is

line

is

of

tlie

female colour

white.
she
closed,

On
in

when
guest
In
at

a
of

bride

adopted
the

into

the

family

of her husband,

being considered the

the

the

occasion,

white
the

colour
flowers

has the central position

arrangement.

both cases
the

the

stems

of

used

must be
to

and firmly connected

base with

coloured
in

cords,

called

Miznhiki,

signify

union.

The bamboo and

suited
for

pine,

being

always

season
Tliey

and

specially

felicitous,

are considered well

in

wedding ceremonies.
the
side.

should

be placed separately

a pair of

similar

vases,
host's
for

pine

towards the guest's side of the chamber, and

flowers,

the

bamboo towards

the

Purjjlc

willow

branches,

and

other

drooping plants are prohibited

PLATE XU.

JAPANESE INTERIOR

LADY ARRANGING LOTOS FLOWIRS.

CEREMONIAL AND ETIQUETTE.

weddings, as also are
sidcrcd
all

floral

compositions placed
all

in

suspended

vessels.

I'urple

is

expressive of mourning, and

loose drooping

arrangemems imply

disunion

inconstancy.

FLOWERS FOR COMING OF AGE CELEBRATIONS.

There
were
formerly

two

coming

of

age

celebrations

for

males

one

on

of the boy first assuming the hakama or ceremonial trousers, and the second long locks of hair were cut off and the youth assumed the cue worn by adults. when For both of the above festivals, flower arrangements were required to be firm and vigorous, with a large proportion of buds and young branches. Faded branches and full
his

blown flowers were prohibited.

FLOWERS FOR PROMOTIONS

IN

RANK.

Flowers used on the occasion of honourable promotions should have buds below and open flowers above, blown flowers must be
to signify ascent in rank,

and the use of withered leaves or over-

carefully avoided.

FLOWERS FOR THE CEREMONY OF RELIGIOUS RETIREMENT.

Upon
designs
reaching a
ripe

age

it

has

always

been

the

custom

in

Japan

to

seek

nt from active
Flor.al

life,

the head being shaven and a semi-religious ceremony performed,

trees,

used at such a celebration should consist of berry-bearing plants or

and red flowers must not be employed.

FLOWERS FOR OLD AGE CELEBRATIONS.

Old moss-clad branches,
flowers late in season, and

second flowerings, arc suited

fall

Withered branches and flowers which quickly fade or

be used.

to pieces

FLOWERS AT FAREWELL GATHERINGS,

There arc
:chnic.ally called

certain

flowers

which bloom twice

in

the

same

year,

and these

Relimnng-Jlmoas.

Though considered

unsuitable for ordinary

,o4

ARRANGEMENT OF

FLOU'ERS.

because
farewell
return.

are specially appropriate for out of liarmony with tlic season, such flowers The idea in so employing them is to express the hope for a safe gatherings. or campaign. Similar arrangements were adopted at feasts before a battle

FLOWERS FOR THE

Flowers
placed
before
sicU

SICK.
be
put together
the idea
in

persons

should
style,

rapid

and

unlaboured manner, and should be vigorous in

strength.

to suggest

of recovery
full

and
and

At the ceremony of praying

bold and powerful

for the sick, flower

compositions sliould be

gay, as well as

in stylo.

The use

of the pine, Podocarpus macrophyUa,

and Rhodca japouka should be

a\'oided.

FLOWERS BEFORE HOUSEHOLD SHRINES.

Each
household
in

Japan

has

generally

two

shrines,

one dedicaded

to

the

household gods of the old Shinto cult

to the spirits of deceased
relatives,

the
is

national deities of the country,

and

the other

which

Buddhist.
is

For arrangements of flowers before

required.

the Shinto shrine, a

full

and powerful composition

All ugly flowers, those of

strong odour, and those having thorns are prohibited.

special branch called the

Facing-

branch
shrine.

is

used behind the Principal

line

of the composition of a

and pointing towards the

full

The

floral

design

placed

in

front

Buddhist shrine should also be

and
face

crowded, but the arrangement should not be laboured.

the shrine and not the spectator.

The

front of the design

to
his

must

story

is

told of a
skill

Daimio who went

ancestral

mortuary chapel and arranged flowers with great

of the chief priest, who, however, pointedly

and labour much

whether he

to

the admiration
his

asked

him

had made

com-

position with a desire for public praise or in reverence for the spirits of the dead.

Unable
flower
for

to

answer,

and

struck

with

the

justice

of the

reproof,

the

noble

altered

the

arrangement to one more simple and unassuming.

such designs, and
in all

White flowers are

specially suited

cases, as

little

artificial

irimming and bending as possible should

be resorted

to,

the withered leaves only being removed.

FLOW^ERS AT DEATH ANNIVERSARIES.

For
floral

designs

from

the

first

to the

fiftieth

anniversary

of a death, a quiet

iiplc style

must be adopted,

White and yellow flowers

arc used,

and with them

is

CE/iEAfONML
combined a branch of tlie sacred .So.,.e. a .;.ered branC,
tree

AXD ETIQUErn.
,W*.,,

,^

Ofv^

nu,Bt be unassuming,
iirnorant

and the composer must noT

taste
to
i

.^.yX^^^^Z'T

"''"''"'
,

and

in

bad

criti

The

selection

of Hower

buds

*"'V"'S" "-"

""' ""

T''''"" llo,vcr arranEemoms

"
'^

''"P'">' "'''"

considered
standards,

W
"'

"-

ordinary

pre^rred.
forbidden.

The use

of cros

,,:.:=

Tt^^T^" """"' ^^"""""S

''^ '"^
i"

'-''is

'>'

d,e year,

also

"

;"^'

f"

"'<=

fiftieth

anniversary, ^aycr arrangements

and even red

.lowers

should be formed

branch, a flower of the season

i

with an
F|, Flowers
i

bemg added ^

as

an

an.viliary. auxiliary.

the 0,u-y:,ri (demon-lily), .imai on //. must uii no nrr, k account be used.

of ominous

name-

FLOWERS AT PRAYERS FOR RAIN OR FINE WE.ATHER.

There are
of prayer
for

special rules with regard to (lowers

which are suited

for

the occasions
rain,

ran,

or

fine

weather.

As
for

it

is

the

east

wind

which

brings

arrangements used at time of praying from r,Eh. to left, to suggest the east

norai

should have their Priapal line pointing wind blowing. reverse arrangement is resorted to on occasions of prayer for hne weaUier, when the Primip,,! line, leaning from left to right, IS made to suggest the west wind,

rain

FLOWERS USED AT MOON

Mo
moon
festival

VIEWIiN^

ng
of
the

IS

at

all
is

times a favourite

pastime of the Japanese, but die great

year

on

the

fifteenth

day

of the

eighth

month.

The more

important

dwellings have a special

chamber with open

galleries

from

which the sight of

the n,oon-lit landscape can be enjoyed.

The

floral

arrangement occupies the recess of the

in

chamber and has of course no

composition
is

real

connection with the outside prospect, but

is

the flower

itself

the idea of a moon-lit landscape

the

expressed,
lines

branch of a pine tree

composition a special
also
is

used,
is

and

between

Pricipl and

Stemdary

of the
.

branch

introduced, fancifully called the Moon-sliathwiraiich

a hollow gap

formed
In the

between

the

foliage,

bounded by a
is

special

branch called the Dividing-imnch.

composition, the idea

partially

to

suggest

both the

opening through which the moon can be

its

observed,

and the dark

blanch

which appears to cross

surface.

To

fully

appreciate the analogy one must be familiar with the scenery of Japan,

and have seen, on

a clear night, the irregular pine trees standing out against the moon-lit heavens.

RAXGEMENT OF FLOWERS.
FLOWERS FOR HOUSE WARMINGS.
A The Japanese word
fi

! , red (Hi) for ,A (lli\

is

pnm'ei Dlionetically the same as that which denotes J

and ts
.'he

conHagrntion

is

the

of

country, a

superstitious

objection

beaut.fol but perishable buildings dreaded enemy of the flowers on the occasion exists to the use of red

,,,.,,

of such celebrations as house-warmings.

Flowers the names of which contain the om.nicus

ideograph

Hi

.,rrdifiora

Such flowers are, the lUianlh.n (Himawan), Lychnis are also prohibited. and the Thuya oUma (Hinoki). (Gampi=Gan-hi), Lilinm cmmlor (Hime-yuri),
last,
1

The
1

use of the

(Hinoki),
(;_ fire.

is

specially disliked,
n,f a by n

as the

wood

of this tree

was

anciently

employed

If for

producing

rnrinnq nprversion. curious pervcrbiuu,

however, some
is

Schools approve 1

and even favour the

anotlier

use of

Himki. because the name

fire.

plionetically

synonymous

with

word himki meaning protection from

designs on
plants

For
suitable,

floral

occasions of

tliis

kind, a two-story

bamboo standing-vase

is

having

water

arranged
is

in

both openings,
fire.

the

reason

given for such an

arrangement being that water

in

tht:

extinguisher of

Another favourite combination

irises.

Summer

is

tliat

of a white

magnolia branch
is

witli

white

In

Winter, suitable

flowers arc scarce, and the narcissus

used

in

the lower

opening of the vase, with water

alone in the top.

FLOWKRS AT POETRY MEETINGS.

A
meeting
of
favourite
friends

pastime of the educated classes

for

in

Japan

in

former times, was the

the

composition of verses.
versification,
if

Sometimes a flower of the season

in

formed the subject of competitive

that the flower chosen as a theme,

and

this

case the Enshiu

School held

in

season, should be displayed in a simple

and

quiet

arrangement
of ihinUing.

in the

chamber of meeting.

Some
meeting.

Schools were, however, of a contrary way

selected as

maintaining that the

particular

flowers

subjects

for

poetical

com-

position should not be displayed at the

FLOWERS FOR THE TEA CEREMONIAL.

As
.

the

chambers

in

whicli the

tea coremonlal
in

is

conducted are of very limited

the flower arrangements

must be small

scale, simple,

and unaffected.

CEREMONIAL AKD ETIQUETTE.

Tl,e displaying of the floral design
It
is

has
at
is

its

proper

order

in

the tea

>

not

generally
suitable

placed

in

the

recess

the

same time
and a
is

as the
part

hanging

piclnre.

First,

some

kaktmom

or painting

shown,

of the entertainment
the flower
visitors

takes place, after which the guests retire;

tlte

kkm,w

then removed, and

arrangement

is

prepared before dieir re-admission.

Partly

to avoid keeping the

waiting too long,

and partly on account of the severe

the flower

simplicity of the surroundings,

and

the austere character of the entertainment,

as
possible.

composition

is

maile as

unassuming
from the
of the

The

kind of

floral

design adopted for tea rooms,

:

differs, therefore,

ordinary style, being less elaborate and studied

it

is

distinguished by the

name

Thrawn-in-styU.
line

If
;

a standing vase be employed, the composition consists of the Principal a hooked vase, the Siromlary line alone
is

used singly

in

is

used

and
in

for

a suspended

vessel, the

Tertiary line

preferred.

If three

stems are combined

in

one design, they

such

must not be divided, but must be kept together

occasions

one

line.

Flowers used on
if

must be well sprinkled with

in

spray,

to look

fresh

and as
in

covered with dew.

orthodo.\
at

When

a tea ceremony takes place

a large room, instead of

the

miniature
If

chamber,

then both the flowers and mural picture may be displayed

floral
is

one time.

such meetings are held at night,

arrangements are not employed.

preferred
for

hooked or
and

suspended
flowers
to
:

arrangement
.strong

of flowers

tea

rooms.

Red

blossoms,

having

perfumes,

are

disliked.
rose,
lotus,

The

following

flowers

are also objected

Patrinia

seahiosafolia,
argeiilea,

cherry,

Cniats,
orchid,

Calciidnta

cffuiuaiis.

Niiphar

japoiiicnm,

Celosia

Illicinm religiostim,
tea
plant,

pomegranate, daphne. Lcspedc^a,

argttens.

drooping

lily,

drooping

Platycodoii,

and Anthistiria

One
the

of the
of the

objects

sought

in

arranging flowers

in

a tea
well

room
as
\

is

to

arouse

admiration

guests

by the quaintness and novelty, as

simplicity,

of the

composition.

For

this

reason,

curious and

unnsn.il

resorted

to.

FLOWERS FOR INCENSE MEETINGS.

Another
dificrent
polite

pastime of the

Japanese

in

former

times

w.is
;

tliat

of Ijurmng

kinds

of

incense,

and of distinguishing the scents produced

used on such
occasions.

a small

room

like

the

tea

room being

generally

The

little

bronze or porcelain

chamber, and incense-burner became the principal art object of die

stand
of this

was supported on a
recess.

or low table,

about one foot

high,

placed

on the dais of the

The

height

stand necessitated that the hanging

picture should

be a broad low one. technically

,08

ARRANGEMENT OF FLOWERS.
a

called

Cros.pm..r. (Yoko-mono).

The met
and

simple kind of floral decoration a, ,,,ose

leaf,

entertainnicnis
in

was

tliat

of a

single flower

or a small
.9).
fire,

bimch of flowers, placed

theorists object to this

'tiny

vase below' the stand

or table.

(See Fig.

Some

above arrangement because the incense-burner

injurious
to

contains

and both

wmd

and

fire

are
a

flowers.
to

If
pillar

not used
or wall
flowers

in

this

manner,
recess,

the flowers should be

placed

in

vase hooked

the

of the

or a suspended boat arrangement

may

be adopted.
meeting.

All

scented

of whatever
flowers
as

kind are
the

prohibited

at

incense-burning

This

rule

cvcludcs

such

plum,

daphne,

chrysanthemum, and

AcofiUum

Jisc/icri.

In
alcove,

cases

where a hanging;
nrrangemcnt of

incense-burner

is

suspended

from

the

lintel

of

tlie

slandinj,'

Mowers may

be placed below.

MANIPULATION.
>rg\REPARATORY
i|j^'r<.-ccptacles,

to

lUe

wcdj^ing

of plant

and tree cuttings into vases and other

in

certain

precautions are
For,

necessary

order to prolonfr the

vitality of tlie
lie.

'v*^M

vr:;t.'tation

thus employed.

however well designed a flower arrangement may

it

1
shape,

unless

it

possesses a certain degree of vitality and endurance,

limp, drooping,
at

will

speedily lose

its

and

become

and faded.
or

It

is

important that cuttings

from trees
If

and plants should be made

manipulated at once,
possible

dawn
lie

dusk, except in the

in

very coldest season.

unlil

not
if

they should

kept

a cool damp place

required,

bid

upon stone or cement paving.

well, but not
.so

They may

with advantage

be suspended

down

the

hollow of a deep

as to dip into the water.

Large delicate blossoms

soft

or leaves are wrapped in soft paper,

to prevent injury.

and stems are loosely bound together with

cord

After keeping

in this

manner
laid

for

some
in

hours, and sometimes for a whole cold water.

day,

the

cuttings, just

before use, are

floating

tubs or bowls of clean

this floating in

During the heat of Summer, and

immediately after cutting.
in cold

at such

a period only,

water takes place

In

temperate and cool seasons, however, immediate immersion

vitality,

water

is

found to be injurious to long

to

and productive of
their

brittleness in the
for

stems, which have

ing
laid

undergo considerable bending during

In

preparation
floral

combinare

into
in

a flower arrangement.
water,

the

cold
little

and

frosty weather,
in

cuttings

not

but simply
at

sprinkled

and kept

a shady place.

The stems

and branches are

it

such season

very

brittle

and

difficult

to

bend widiout breaking, and

in

is

usual
softer

to

slowly

wann and thaw them over

pliant.

a charcoal brazier,

order

to

make

them

and more

The two
are,
first,

essential

points

to

be secured with cuttings

for

flower

arrangements,

to

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

vase continues to
the

into

their

fibres;

and second.
yield
to

to
the

obtain softness and pliability in

twisting

stems and

branches

enabling

them to

and bending which

is

necessary in order to give

them the required curves.

removing branches or flower stems
vitality

The
from
the

cut

produced
is

iiy

scissors

or knives

in

parent growth

not found to be conducive to the long

of such cuttings,

,o

ARRANGEMENT OF FLOWERS.
wedged
it

^vhen

into

vases

containinK'

water.

Without
of

professinR

to

explain

this

sciendfically.

may be

surmised

that

the

surface

such

section

given

to

a
it

bninch
is

or stem
that

has a tendency to close and heal,

the water should
rise.

thus

choking
are

the

pores by

which

necessarj-

Some growths

of course

more hardy than

others,

but

with

many, an
their

artificial

treatment
is

of the extremities of the cuttings, before

vitality.

wedging then

into

receptacles,

found to considerably prolong

The stems
charred

of the
increase

iris,

chrysanthemum, and some other

succulence.
In

plants,

have

their

ends
rush,

by

fire

to

tlieir

the case of the

this

bamboo,

wistaria,
is

monochoria,
useless.

lichnis.
is.

and other growths having knotted stems,

moreover, never resorted to in the

method

found to be
of

Charring

Summer
in

time.

The stems
water,

some

plants.

the
:

peony

for

an c^ample,
little

have
is is

their

ends plunged

boiling

containing

sulphur

or sometimes a
is

arsenic

used instead of sulphur.

method followed by
back of the

some

masters,

that of

mashing or crushing the ends of the

;

cuttings, using the

flower-scissors

for

the purpose

this

the
burnt,

manner
boiled,

invariably

adopted
the

by the Ikenobo

School.

Whether the
held

e.\tremities

aie

or crushed,

cuttings so treated
for

are

afterwardfi

upside down, and a shower of water poured

over them
fi'esh.

some
arc

minutes.

Bamboo

tubes arc specially treated to

keep them green and

all

They

progged through the centre with a squcwer so as to pierce

or divisions, leaving the bottom

the intermediary
is

knots

one only
cloves

intact,

and then water

wine
is

filled
tlic

into

the tube.
as

Sometimes a
stimulant.

dilution

of boiled

or

of

rice

added to

water

The
by and
careful

artificial

curves imparted to branches in Japanese compositions are produced

bending, a force

given with
short

the

two thumbs and

fore

fingers placed close together,

with

just

of breaking.

Some stems

of

more yielding

character
brittle

will

readily

assume the required form

witliout snapping, but the harder

and more

kinds

are variously treated.

or

They

are sometimes shaved

with a knife at the points to be bent, a

are

softened

with boiling water, or

heated

o^'er

slow
If
is

fire.

A
in

cloth

or

rag

is

wrapped round the part to be bent, to prevent

forcible

splintering.

dipped

water after such

from
returning
to

bending the
original

elasticity

is

destroyed and the

it

branch

prevented

to

its

shape.

To

avoid ugly angles

the

follows

that several

bends

have

be

made

in

a branch to obtain

required

curve.

Means
composilions and

anto

resorted

to

in

order to keep

large
off.

heavy blossoms

in

position

in
fall,

prevent them

drooping or
the

falling

Camellia flowers quickly

and

it

is

found that

keeping

damp

junction

of the

blossoms with their

stems

by

MANIPULA r/ON.
means of
and
otiier
salt

, ,

prevents

tills.

With peonies, large

clirysanllii-nuinis,

magnolias, suntlowere,
in

large

blossoms,

which play an important and iLxed

being llxed,
it

role

compositions, their
to

exact number, position, and direction

artificial

is

often

necessary

resort to

the

support of hidden

bamboo

spikes or wires, though these are tricks not encouraged

by the
cases to

masters, for fear of being abused.

Even
ol

[jainting is
in

secreriy resorted to in
leaves,

some

preserve

the

apparent
otller

freshness

colour

flowers and

or to give

them the appearance of

camellia

more beauuful specimens.

being
dotted

The

writer has

heard of red
of

flowers

in

compositions

with
pine

sulphur
needles,

to give

the appearance
turn

the

variegated kind of blossom.

lose

The green

which

quickly

brown
sije.

and

their gloss,

are

often
is

washed with a mixture of gamboge or

sometimes painted
iu

svilphur

and

The bark

of tree stumps

also

a similar way.

kfethods which are

laid
IS

strictly

speaking

in

violation

of the principles of the

art

as

down, are often resorted

of

meant leaves
similar

to. One of these is the use of Ikrrmied leaves, by which one plant used to embellish the flowers of another plant possessing

somewhat

leaves

which are not

the real
this
fall

iu

condition

at

tlie

time.

There must be some

material.

resemblance, however, between

leaves

and the substituted

adtled
to

The

leaves

of the
real

young oak

tree

are

in

way sometimes
before
tlie

rhododendron flowers, the

leaves

of which

wither and

Ijlossoms.

In
different

like

manner Bormaed Jbmn-s are sometimes added

flowers of which are
in

to

handsome leaves of a
leaves

plant

the

poor condition.

Thus, to the

of the

camellia are
leaves,
is

occasionaly
flowers

added flowers of the Hibisciu

syriaciis,

and

to

chrysanthejnum

////,! brilannka are sometimes united. The resemblance here between the flowers and not between the leaves of the two growths that are combined.

the

of the

Lichen and moss are produced upon branches and stumps

artificial

of tree

culdngs by

means.

For

this ptirpose

the

branches are
in

placed on
spot.

tile
is

roof exposed to the

considered desirable
thick b|-anches or

wet,

or kept on the
the

shady side of a house

pine,
lir,

a damp
cypress,

Moss
azalia,

on

bark

of the
;

plum, cheiry,
is

and
for

when
fir,

stubs
willow.

are

used

and

lichen

considered

suitable

the

pine,

oak,

maple, and

PRACTICAL EXAMPLES.

pi IE
^given
fr

foIiowinK

illustrations,

from

Plate
in

XLII.

Plate

to aid the clesigncr

by showing

jtixtapositinn

defcc

rangeinents of the same

floral

branches or leaves.

In

Plate
its

XLII. the
vcrj'

Koria
much
in

japotiica

is

represented at

A,

placed

in

a standing

vase,

with

branches

the form assumed

when

first

gathered.

The

defects

of this composilion are, the stiffness of the central stem, the weak and open appearance of
the

branches
the

at

the

base,

the

redundancy and parallelism of some of the smaller sprays,

Altered as
in
ii,

and

general fulness, irregularity, and formlessness of the whole.

or
Pi'iiicipal

the

central

stem

assumes a stronger curve, the

different branches are united at

the

base,

the lines of the Secondary and Tertiary are improved, and

thi-

some of
lines.

the smaller

sprays removed, so that

whole' becomes disposed into five governing

In Plate

XLIII.

the Spirtpa canhuieusis

;

is

shown

at

a, carelessly
is

arranged

in

hooked bamboo
ing

vase,

having

side month.
;s

Here the

central line

too long for a liang-

arrangement,

which requir

the

drooping branch or Streamer to be the longest, and

Altered as at
is n.

the branches are too numerous and straggling.

cd,

the Principal
in

is

shorten-

the

Secondary, being

in

t lis

case

Streamer,

bt-nt

down

a wave-like curve, a three-Uncd

some of

the excessive sprays

ire

removed, and the whole resolves

itself into

arrangement.

In Plate

XLIV.

ihu

leaf-orchid

is

shown,

at

a,

in

a defective and almost

sym-

metrical arrangement.
central
leaf,

The

principal faults of this composition, are the straightness of the

in

and the monotonous manner

shading,

which the fronts and backs of the

at
n,

leaves,

as
leaf

shown by the
is

arc

disposed.
its

Improved, as
surface

the

stem, of the

central

gracefully

cimcd, showing

front

with the edge

curled over, and

the otlicr

ARRANGBMl-NT OF
,e..e. are united fir.ly a.
.I.eir

FLOIVI-RS.

base a,TanB,

in

.P. and
vane.y.

disposed

so

as

,o

.evea,

!Z,a..,
cliaracter

fron.

and

U..

snrfaccs in a

wd, balanced

Ihc

whole

assumes ,e

of a

tri-lineal

tlusign.

will

now

,.me . ., 1 v.,..l.:rli govern t-nvein tlic an-ancjement of particular flowers tradilions wliiCli Tlie special rules and -I examples hein" shown, so far as the scope of ihis work ..^,.^l,.s Dein siio be explained, practical

...

permits, in die

accompanying

ilkistrations.

ARRANGEMENT OF PLUM BRANCHES.

The plum blossom beinf; the earliest flower The h.mliness of the plum arrangemenLs.
and the austere type of
iLs
its

of the year,

is

hold of

in
its

hiijh

esteem
its

tree, the duration

all

blossom,
it

for

flor.al

sweet

perfume,

beauty,

help

to

make
cherry

even

greater favourite for flower compositions than

exist in Japan

more showy

rival the

tree.

There

many

varieties of this

blossom. red. white,

in

single,

ami double.

Branches of

red

plum blossoms should be arranged

should

fuller

and gayer manner than those of white

style.

blossom, which

be

displayed

in

a quiet

and open

For Spring arrangements

in

a fancy
tion,

prevails of suggesting,

by means of a perch-like bend of a branch

the composi-

the presence of
to

the

Ugmiii. sometimes called the Japanese nightingale, a bird which

of song
in

delights

make

its

home

the

plum

trees.

Heavy and

antique

standing

vases are the most suitable receptacles for this flower.

The rough and

able trlnuuing

irregular

character of the branches

in

of this

tree,

renders consider-

and bending necessary

is

order to arrange

them

into
in

lineal compositions,

and

this
is

manipulation
illustrated

assisted

by softening refractory portions

of composing a tri-lineal
its

hot water.
with
side

In Plate

XLV.

the

process
in

design
form,

small

branches,
the

each stem being shown both

natural

and

its

altered

by side with

completed design.

Hut the favourite kind of plum branch for chamber decoration

rugged, moss-covered trunk, with young branches and shoots
attached.

is

that of the thick,

The

fresh

shoots,

which grow vertically

in

nearly parallel lines, are specially admired

when combined

with the

rugged trunk, and are introduced under a special name. (Zmnaye). taking their
place in compositions.

appropriate
in

Arrangements or

this

kind vary according to the class of room

which they are used.

and

for

For important chambers a composition leaning to the right is adopted, secondary rooms one leaning to the left. Such designs are said tohave respect-

PRACTICAL EXAMPLES.
ively SoiUh
half-oijen

115

For arrangeiHents of right or South character, full and blossoms predominate, buds being employed sparingly in the Tertiary branch only
full

and North character.

whilst for those of left or North character, no

lialf-open

blossoms are

used,

but only

buds and

flowers,
are.

a
in

more quiet and bare character being given

both
designs,
in

to the

whole composition

1 he shoots
three parallel
particular,

sparingly

introduced, springing from the

main tiimk
In

in

lines,

and

position

between

the

Sewndary and
to

Tertiary.
rule

this

the plum tree

forms

privileged

exception

the

general

prohiljiting

parallelism in the disposition of stems or branches.

A
water,

curious
in

anaiigL-nient
Plate

..f

plum

bnuicht-s

in

a large
notice.

shallow

b.-isin

filled

willi

illustrated

XLVIa..

requires

special

As a
for

general

rule

these

broad
plants

water-basins

are

employed only during Summer, and

in

the

display of trees or

which grow near or

water.

In the present case, the coni|K)sition consists of an

in

irregularly
i'lff

bent cutting of a plum tree disposed

with

an oblong shallow

vessel, in the

lean-

style,

the

principal

branch

diving through
is

the water and re-appearing beyond.

it

The

explanation

of this

fanciful

arrangement
at

that

was

originally in imitation of the

for
its

famous Recumbent- Dragon- Plum -Tree

ploughed the ground
artificial

Kameido, remarkable
re-appearing

crawling trunk
blossoms.

which
In

in
it

se\'eral places before

is

clad

with

the

composition
rise

considered important that the extremity issuing from the water

in fact,

should
it

firmly,

to

suggest springing from the earth, and should,

held

he fixed as

if

were a branch
of line

separately
the

below,

though

sufficiently

conveying the idea of con-

tinuity

with

original
it

branch.
is

Some

Schools otherwise explain the origin of

this style

of design.
its

By them

called the

plum of the mountain stream, or the wateris

diving plum, and

introduction as a floral design

attributed to the a;sthete Soho, who.

in this

during a hunting expedition, observed a crooked old plum tree dipping

manner

into

mountain stream, and adopted

tised.

the

idea

for

application in the flower art which

he pracextremity

A
are

tree of this
is

kind, measuring over a

hundred

feet from

its

root to the

of

its

branches,

said to have existed near Kioto.

In the above arrangements, sand and

gravel

mostly

used
is

for

holding
;

the

plum

branch

in

position,

but

sometimes

the

horses-bit fastener

employed
dais

in

which case, for reasons already stated, the composition

In

must not be placed on the

of a chamber of importance.
is

one

of the

illustrations

of chamber interiors, (Plate XXXVIII.),

shown a composition with plum branches

flowei-s

in

bamboo vase
indicates

containing
early

also

narcissus

below.
of
the

The

clothing

of the figures

the

Japanese

Spring. the

season

plum

blossom.

1,6

-il^

HRAKGEMJINT OF FLOWERS.
combination with land and

water

plants, such as

the Sprln.
hi,,,

Tl>e plum

is

used

in

ing basket, in combination

o wh.tc pun, ,n th. sometimes seen, hav.n, a branch bamboo vase u-ith f.ve ca.nelha, and lowest of all . ,..., a narcissus, after which a top. a willow branch below. Uk-u branch of plum blossoa.s arranged n. a hangm Plate XLVI. n,ay be seen a branch. amurmsis. with the i>lant Adonis

chrysanthemum and

narcissus.

(See Plate XLVll..).

is

An

elaborate composition in a

mouths

ARRANGEMENTS OF PINE BRANCHES.

The pine
is

the most important of

all

flowerless trees in Japan.

The
it

liardiu

landscape.whether noblest of evergreens, and a constant feature of the

coast .scenery. bent
fiidiful

be

and

twisted

by the

wind
be
for

into shapes

.so

quaint and contorted that

imitations
tree
floral

in

miniature

may
all

well

mistaken
poets

for

grotesque caricatures,

this

venerable
place
in

forms

favourite

subject

and

artists,

and

tinds

an

important
die

compositions

on

congratulator>'

occasions.
tortoise,
it

Combined
is

with

plum
to

and

bamboo,

and

associated

with
old

the
age.

crane

and

used

\n

decoration

of happy

The
as

principal

kinds of pine

are

the

Pima

thnnbcrgii,
Pii.
J'ii

own by

the Japanebe
called

the
or

black

or

male pine (Kuro-matsu or O-matsu). the

pine

deitsijbra,

ihe

ird

female

(Aka-matsu
J>arvijhra,
in

or

Mc-inatsu).

and
the

the

parvijlora

(Goyo-noof
its

iiiatsu).

The
is

Finns

on

account
ertical

of
style,

straitihti

and
sprays
:

delicacy

leaves
tions

often

arranged
species

sin

using

thin

but

for

composi-

widi

other

of this
to

thick

gnarled
pine

branches are preferred, and a hold

is

rugged character given

standing vessels, for
are
occasionally

the
it

design,
is

The
to t

used mostly

for

arrangements

in

which

said

be specially suited, but hanging compositions

is

cmiiloycd.

favourite !

treatment
springing
in
its

that

of
its

broad

stiini])

cut

off

horizontally,
jjine

with
is

a thick

twisted
as

branch
possibli

from
natural

base.

At

all

times the
until
its

branch

used as

much

state,

being trimmed

arched

foliage
in

assumes a balance of maj es suggestive of the three radical and

the building together
little

divisions

em-

ployed

flower compositions,
is

of separate

branches,

common
the pine

with other trees,

foliage

comparatively

resorted

to.

An
in

example
\,

ilkistrating

disposed

in

cloud-shaped

masses

may
use

be seen

Pig.

page

iv

The

for

which
at

the

of the

pine
z

specially

ap[iro])riale

Idings.

uld-age

celebrations,

sometimes,

though

PRACTICAL HXAMPLliS.
at
farewell gatherings.
is

,,;

At wedding
For
a

feasts

a double arrangement
tlie

in

ixiir

of
is

similar
i)lacc<l

standing-vases
in

employed.

this

purpose a branch of
in

male

pjn^

one

vessel,

and

branch of the female pine

similar,

the

other.

The

general

form of
opposite

each design should be

but the

branch of the

fanaU

pine

facing the

vase should stretch a little beneath the corresponding branch of the male pine. These together are called the Dcsln,y-,n,iiig branches, and the complete design is said to lypifjeternal union. The same sentiment is expressed by arranging a branch of each of these
trees,

one below the

other, in a single

vase.

Occasionally, in suspended arrangements of pine, long

stiff

threads

art:

himg from

the
this

branches,
ti-ee
;

in in
is

conventional imitation of the parasitic grasses which attach themselves to

disposing snch threads, their balance into groups of three,
carefully attended to.
five,

and

or seven

irregular lengths

The

white

chrysanthemum

is

sometimes

usetl

in

combination

with

the

i)iue,

custom introduced by the philosojjher Rikiu.

in allusion to

a favourite verse of poetry com-

paring the white Howei-s of the wild chrysanthemum wlien seen beneatli the pine branches
to

the

moon between
above
the

black
otiicr.

clouds;- the

foliated leaf-masses
in

of

the Japanese pine tree,

piled

one
is

being not
in

unlike

shape

to rolling

masses of dark clouds.

is

This

one

of the

many examples
is

which the sentiment of laniKoiiH

is

iiumilutjed into
v

(lower designs.

Another example
to

that of what

called the

M^-iihL:/:! :!/.
i'

."ul-slivam

composition,

suited

vase

of three openings.
;

In the uppt
is

tnnuili

is

pli.id a pine

branch, to suggest a niouiUain sununit

plain or v.illey
;

a land plant
is

placed

in

the centre, to suggest the

and

in

the lowest

mouth

arranged a water
for

plant, to

convey the idea of

a stream or
similar

river.

High bamboo vases are employed

such arrangements. vase

of

Somewhat

to

the last

named

composition,

Is

a design
small

in in

two

mouths with pine

a distant tree on
the foreground.

branches

in each,

the top branch being kept

full

order to

suggest

the hill-top, and the lower liranch

and elaborate

to

represent a tree in

The use
part of this work.

of the piiH: at
Its

moon-viewing gatherings has been alluded

in

lo in

an earlier
In-

employment

a single arrangement at farewell-gatherings was

vented by

Rikiu,

being suggested to him

by a verse of poetry

in

which the Japanese

name
for

for

pine

{maiut)
return.

conveys

a double meaning, the sanie word also implying wailing

traditions

lover's

Many

of the

of the

Flower

;\rt

are based upon such

poetical allusions.

ARRANGEMENT OF FLOWERS.
ExamiJes.
llmiigli

rare,

may
the

of

the!

piiiu

airanged

in

a watiT-l

combination with a water-plant such as

ment,
called the

or narcissus.

One
.

form of fancy

A>-/m.,

after

famous

volcanic
is

mountam

iFj,-san.

remams

to

be

composition
ruji.

a branch

bent to resemble the outhne of

foliage in such a

Mount
to j;ive

and

is

comhnietl
Ijare

vith

the

other branches and peak,

manner as

the profile

of the

conical

wooded counlr) and suggest at the same time the

ARRANGEMENT OE HAMBOOS.
In the

Flower Art. the bamboo

it

is,

strictly

speaking,
It

regarde.l

neither

as

Irtc
in

nor a pliml.
'

but

may occupy
In

the

position

of either.

should never be placed

or
plants,

vessel

made

of bamboo.

combination

with
for

other

trees

thin

branches or

sprays of

bamboo
is

are often employed, but

simple compositions, a portion of the round

stem or tube
cut off either

selected, with a
in

few

leaf-clad twigs attached.

The

top of such

tubes
If

are
at

a splayed or hotizontal the cutting

manner according
leaves, the

to the occasion.

used

wedding
unlucky
require
for

feasLs.

must be hidden by
severed

sight of

it

being

considered

and

suggestive

of

friendship.

These cylinders

of green

bamboo
vitality

very special and

time.

careful

treatment in order to preserve their verdure and

cut in the cool of the

any length of
early
special

They must be

morning or evening.
is

In

the

months of Summer, when the leaves are young, the stem

treatment
is

very succulent, and

small
the

no

required, but the

to

preserve
tube,

the freshness
into

at

other seasons,
is

holes are drilled

between
sake,

knots

of the of

which
is

water

blown
the

with
as

mouth.
stimulant.

Sometimes

the

rice-wine

die

country,

added

to

water

Mostly
stems,

dirce,

but

sometimes

five

twigs

of leaves

are
are.

left

on these
their

cylindrical
state,

arranged

irregularly.

The

leaves of

such

branches

in

natural

crowded and confused, and they dierefore require thinning

removed, and the
binations

out. the

withered ones

being

remainder disposed
are

in

double or
of the

triple

groups.
in

Three

different

com-

of

leaves

approved,
tail

that

Fisli-lail.
fish
;

which

two of the

lancet-

-shaped leaves spread out like the

of a

common

that of the Cdd-fsli-lail. in which

to

centr.il
fish
;

leaf

is

added,

giving die group the

resemblance

the

triple-finned

tail

of

gold

and

that called the Flying-gcesc shape, consisting of three sloping leaves, suggesflight

tive of die

oudinc of a wild goose in

as seen from a distance.

'&

>

PRACTICAL EXAMPLES.
On some
occasions,

1,9

two tubes of Kreen bamboo, one shorter than the

other, are

combine.!, being then called respectively the imle and female. The top of the JemaU or lower tube should be cut off horizontally, while that of the upper tube should have a splayed cutting. The longer tube has three knots or divisions, and two leaf-clad twigs which take the place of Primipal and Secondary in the composition, and the shorter one only two

knots and one spray of leaves, corresponding to

the

Tertiary.

To

designs

placed

in

broad vessels

and

it

a bamboo sprout (Takc-no-ko) if in season, may be added as an auxiHarj'. should be fixed about two inches distant from the main stems, generally in a slant-

ing position

and close to an ornamental stone.

Numerous vases made

part of this work.

of

bamboo

cylindere

have been described

in

an

earlier
left
is

Similar vessels are often

floral

made

of green bamboo, the leaves being

in

on and forming part of the

required to

composition arranged
is

such vases.

The same
bamboo

care

keep
the

sucli

receptacles fresh and green as

applied to ordinary

tubes,

and

while

upper and
plants,

lower

portions

are cut out to form mouths for the purpose of

is

receiving

other

the

intermediate
sake.

space between two knots

bored and sprinkled

an arrangement
11.

internally with

water and

In

Plate

XLIX.

at

a.

may be

seen
at

of

bamboo

in

a sand-basin, together with the

Nnphar japouiemn. ami

a design

with

thin stems of

bamboo

alone.

COMBINATION OF
Separate notice
branches,
is

PINK. liAMHOO,

AND PLUM.
plum
art

given to the combined arrangement of pine, bamboo, and

thr

on

accmmt

of

importance
called

attached

to

this

triple alliance in

the

umlor consideration.

This

combination,

by the Japanese
and well-wishing.
Ik:

S/io-ehikii-bai, is us<;d at
It is

im]H)rtant celebrations in token of congratulation

specially
feasts.

employ-

ed

at fhe

New

Year, and,
is

if

the plum blossom

in

season,

at

wedding

Some-

times

the

composition

in

a single

vessel,
If all

and sometimes three vases are used each

in

containing one of the three

the
|)osition
;

growths.
the

three be placed

one vase, the pine takes and

the

of
if

the

Principal,

hainboo

of

the

Secondary,

plum
the

ol

the

Tcrliary
is

and

arranged separately, the pine occupies the

left,

central

position,

bamboo
its

placed on the

and the plum on the

right.

The plum branch

weddings.

should have
is

base
con-

lied with a coloured silken cord

when used

at

bamboo vase

not

sidered

suitable

for

such

triple

arrangements, but a vessel

of green
Itself in

bamboo may be emthe triple combination.

ployed with the pine and plum only, thus including the vase

An

illustration of this
in th<:

is

shown
at

in
11.

Plate

I...

and anntlier example of the S'lO'diikit-bai

may

be seen

same

Pl.ite,

AKGEMEKT OF
ARRANGEMENT OE
The
fifteenth
facility

FLOWFJiS.

W'lI.LOW RRANCHHS.
designs

willow

is

employed

for

lloral

on

important
third

occasions, from

t|,e tin-

day of the
its

eightli

month

to

the

first
it

day of the

month.

Owing
all

to
to

with which
after the

branches can be hent,

is

considered the easiest of

first

Incs

ar-

range

Japanese manner, and generally forms the subject of

varieties of the willow found in

lessons in the Art,

for floral

Among
or

the

many

Japan, those most used

willow, and

com-

positions are the Salix purpurea, or

ordinary river-side

the Sniix

babyloi,
nuist

weeping

willow.

When

branches
in

of the

weeping
lines

willow

are

employed, care

be taken to avoid an arrangement

position,
is

droop on both sides of the same comsuch designs being only permitted at the celebration of death anniversaries. It
which
practice to tie the long trailing

common

stems of the willow into a loose loop or

rin-r

of about four inches in diameter, generally three stems being so united,

and the
is

extremities

hanging down to different lengths.

in\-ented this style of composition, as

The

originator of the Enshiu .School

it

said to have

he found

otherwise

difficult

when -arranging
trailing

willow
floor

branches
.Another

in

standing

vessels,

to

prevent

the

long

shoots

from

on

the

version

attributes

die

practice

of looping the willow to an old Chinese

it

custom

prevailing at

farewell

meetings, on which occasions

signified tyiug-up

until

the return of
(r

the departing guest:

farewell gatherings.

hence

it

is

said

to

be

style

of arrangement specially suited

The custom became

generally
water,
its

afterwards
tree,

applied

preferred

for

this

die

idea being
laterally

even to hanging compositions, which are that, because the willow grows near
if

branches should
of

hang over
for

.as

drooping over a stream.

flower

Even

in

chambers

handsome dimensions,
is

which

standing

arrangements are
the recess

mosllv or
in in

selected, the willow

frequently placed in a vase

hooked

to the pillar of

vessel, suspended from the cross-beams. A design combination with a bunch of.narcissus, plaee.l in a hooked basket,

boat-shtiped

of a willow branch

may

the text illustrations, Eig.

be seen

in

one of

.S.

The
combination
.nge ler a reddish
.greyish
sl s.....n

camellia
at

is

the

favourite

flower
rule

for

introducing

with

die
to

willow
^

variance

a
I

with

the

general

that

two
the
,

/,-.

ought no.

t.ouble compositions.

be emolo've

At

the season
;.
i

when

leaf

appearance,
colour

buds of the
'"

the the

w ow
I

peseiit

white rimelli,

whi^
an

ca

camellia

is

e considered
in

T\
a

''"' '"''

'''""''
11 n

'
is

more

suitable.

arrangement

In Plate

of willow

and camellia

suspended bronze vessel of

:"^:

PRACTICAL EXAMPLES,
shape,

121

and

in

Plate LI.

are

illustrated

two compositions, one consisting of the

willow
If

combined with thp

Camellia sasanqita, and another of the willow and narcissus.

both

arc arranged in a two-staged

bamboo

vase,

the

willoAv

should be above, and the camellia

below.

The

narcissus

and winter chrysanthemum are

also occasionally used in combination

with the willow.

Three fancy
for

styles

nf composition are

reco^jnized

the

branches of this
the

tree,
ivitid,

namely, the ivilbn' in fair

wcalher,

wiUaio in

and the

willoio
is

in

snon>.

For the fair-weather

the

style the

Spring willow
if

used,

and

branches
;

are

spread

as

just
is

kept

aiiart

by the

breeze
are

when

the willow in wind

if

expressed, the branches

given a curved sweep, as

(see Fig. 26)
;

blown back by a strong

the

wintl,

and

when
to

willow
straight

in

snow

is

suggested, the stems arc

as
if

made

hang

and heavily

weighted with snow.

ARRANGEMENT OF WISTARIA FLOWERS.

The
ling

the
holds

firs

flo

of Sui
its

uid

the

most inipnrtnnt of bios*

it

creepers,

high

rank,

though
widi
its

colon

enders
:

unsuitable

for

certain
is

-purple being

associated

mourning,
nature this pk

species

with

white blossom

seldom used

in

fioral designs.
it

From
used
its

is

specially adapted to
case,

suspended
sort of

arrangements, though

is

also

in

standing vessi

in the latter
ai-e

some

frame
are in

is

generally necessary for

support.

The
buds

blossom-clusters

preferred before they

full

bloom,

having

majority

of

and half-open

flowers,

with

only

tliree

or four fully open.

Tubs and sand

basins, such as watt :r

it

plants arc

placed

in,

are the only kinds

in

of

standing vessels used for the wistaria, which,

must be remembered, grows

parks
is

and
con-

gardens on trellises o\-erhanging a lake or

st ream.

The

idea of such water-scenery

often introduced to

veyed by means of these broad,

impression of landscape

flat

vessels,

and stones are

add to the

An
(Fig. 27).

arrangement with ornamental ston

n the

accompanying woodcut,
distinct

Such

stones

are

generally

three

with three

characters,

JRJiANGEMIiNT OF FLOWBRS.
., , disungiiisnetl
-

...

by
1

.,. JieavLn, caiui, and Mankind. ,1 tht names HeivL-n Earth,

He principal stone
in

is

Iiij-h

and

1-1 1 siiape mountain pointed, hke a ,mhnm in sliane

the hil

tliii-'t

m"

stone

is

llat

and horizontal

characl

the second stone

form.

is

of intermediary of

Other
are

stones
often

minor
Init

importance

added,

not so as to detract from the thrrc

essential

ones,

and

the

coni|tlL-lc

number should always be an odd

one.

The stem of
spring

the

wistaria

should

from

behind
plants
jafio)

the

principal stone.

Water

hke

the

iris

and

Nuphar

and

land

plants

such

as

CnlcnHiiln

officiuads,

Bijinso

Aspidistra

hirida.

combined

with

the
If land plants

shallow vessels.
introduced,

no

stones

should

employed, these being only

ed
to

when

water

scenery

expressed.

A
follows

composition with
wistaria

wistaria,

irises,

and Nuphar japonicnvi would be arranged as

left
its

: The
if it

should be

placed

to the

of the

vessel,

at

the

side

of a high
its

stone. as
reflected

were on the slope of a

hill

with
It

branches stretching over and

five,

flowers

in

an adjoining lake or stream.

should have

seven, or nine clusters nf

blossoms.

Then,

at
;

a distance of about

six

inches, a

group of the leaves of the Nuphar

japoniaim
in

is placed and about four and a half inches from this plant are arranged the irises a simple composition of three or five leaves, one of them curling over and dipping into the

water.

The remaining

stones should

then be

distributed in

different

parts of the vessel,

in

but so as not to

interfere with the

water plants, which must be placed

the free

water'

he nature of the wisuiria-creeper prevents

the general

its

stems bein? arranged

the

in

Imes

distinct

in

accordance with

methods of

floral

design, but
its

S..ouda,y. and

n.les for Principal

'n-riiao, are

applied to the grouping of

blossom- clusters.

arrangements the Sfn-amcr assumes great importance.

In

hangin.

I'RACTJCAL

JiXAMPUiS.
in

Examples of suspended compositions may be seen

placed in a

Plate LIII.a..
76.

where the
it

llow^

bronze boat-shape vessel, and

in

Fig.

16.

page

where

is

arranged

inverted bell twining round a branch of pine.

ARRANGEMENT OF
Several kinds of
irises

IRISES.

are employed

for floral

arrangements, die most important

the
Iris

being

two

varieties

of

Irh Uroigala

(Kakitsiibata

and Hanashobu).

sibin'ai

(Ayame). the Iris technim (Ippatsu). and the

Uevigala Fisch. var. Kampferi. which
plant,
tlie

Iris japouica (Sliaga).

call

Of

these,

the Iris

Japanese
the early

Kakitsiibata.
lasts

is

the favourite.

Thia

though

belonging

particularly

to

Summer,

through several seasons,

In Spring,

displaying a special character of growth at these

are
stiff

different periods.
;

the leaves

and

straight,

and the flower stems are short

is

in
;

Summer, the
and
in

leaves are

more

full

and spreading and there

are

much

spirit in

the Flowers

Autumn

the llower stems

long and the leaves bent and curled.

seasons must be shown
[ilants.

These

peculiar characteristics

of the of the

plant
Iris,

at
like

different

in

the floral

arrangements.

The
They

leaves

those of other water

are considered the most imi^ortant part of the composition, and

all

they must be well selected,

in

withered ones being discarded.

artificially

are plucked as they

grow

their sheatlis, separated,

and then

connected into groups of two or three, being

attached with saliva.

These
to each

sets of leaves are used to form the different lines of the design,

names being given

according to

its

position

and function

in

the composition.

The

main leaves form the Principal, Secondary, and Tertiary

being added two or three flowers and other auxiliary leaves.
the methods
of taking to
jjieces the

lines of the

arrangement, to these

Plates

LV, and LIV. demonstrate

clumps of leaves, re-arranging them, and combining

them, with the addition of flowers and buds, to form a simple composition.

The
irises,

usual numerical proportions

between leaves and flowers

;

in

an arrangement of
;

are

one
;

flower with three leaves

two flowers with seven leaves

;

two flowers with

fifteen leaves

three flowers, with thirteen leaves

and

five flowers

with eleven leaves.

Taking, by way of example, a composition of two flowers and seven leaves, die
following
is

the

method of arranging.

First,

three leaves are

placed in the

position of the
long,

Secondary
tlie

line.

These three leaves are joined together, die two outer ones being
if

and
this

central

one short, as

just sprouting
is
is

out from between the other two.

Above

group of leaves a full-blown flower

position

placed, with
often
called

one long
the

leaf added,

which occupies the

of

die

Principal.

This

Cap-haf.

as

it

crowns

die

whole.

124

ARRANGEMENT OF FLOWERS.
!t

Beliind

a smaller leaf

is

added as an
is

auxiliary,
in

and

itle

of this a tlowei

introduced.

Next, a small leaf

plieed

the

position of the

Terliary. technically called

;

and combined to the water of the vase the WaUr-dippiu^-leaf. because its tip curls over DcL-mpforlhig-U;,/, because its blade with this is added another small leaf called the should be slightly concave above, with an upward tendency.
composition of eleven leaves and five
is

In makins; a
in

(lowers, three leaves

this,

are put
up,

for the

Secondary, as before, and a flower

is

added.

Behind

and rather higher

the Cap-lcirf

placed,

and with

,it

is

arranged the
is

highest flower as Principal, with two

other auxiliary leaves.

Then another
leaf

flower
it
;

added between the Principal and Secondary

blossom with an
litde

additional

below

and on the opposite side of the composition, a

is

lower than the

Still

flower of the
this
is

Scconcfary,

placed another flower

Tertiary,

with

two leaves
leaves.

adjoining.

below

added a bud,

for the

combined with two

the

IVatcr-dipping-leaf and the Dr.u-snpporling-lcaf.

in full

Of

the flowers mentioned, two should

be

bloom, two partly open, and one

in

bud.

Jiefercnce has
trees

been made to flower arrangements

side

in

broad

flat

vessels in

which

or plants are disposed

in
it

by side

in
is

divided clumps.
called

The

distance between such of uiaier-

clumps
plants
plants

the
is

case

of Irec arrangements,

the

Valley-space, but in that

called the

Fish-travelling-distancc,
left is

because

a lake or stream containing such

is

suggested, and the space

just sufficient for tlie passage of large fish.

plants.

Such

interval should

measure about one-tenth of the height of the largest group of

In a divided arrangement of irises in

in

two clumps, one should be large and high,

47),

the

Vcrlical-lriangle

style, (see

l-'ig.

I.

page
48).

and the other small and leaning,

group,
btid
;

in

the Hmizontal-lriaiigle style, (Fig.

2,

page

The main
and a

placed to the right side

of the basin,

may have seven

large leaves, a

flower,

and the other group,

six

small curled leaves,

and one bud.

The Japanese
natural lantlscape.
in

n.iral

artist

duliglus

to

suggest

in

liis

compositions
iris,

some noted
Yatsuhashi,

The most famous

spot in Japan
is

for displays of the

is

the

province of IVIikawa,
bridges.

where there

a river with eight tributary streams crossed by

is

as

many

An
river

artifiical

flower arrangement
large,

sometimes made
in

in

suggestion of

this

natural view,

by using a very

shallow kasin divided

which arc placed white pebbles

black stones,
filled in for

to

represent

the

and iu eight

branches,

by

the

land.

PRACTICAL EXAMPLES.
The
group
is

,25

irises

are then arranged amongst

separately
flowers.

tlie

black stones
quantity

in

divided groups.

Each

composed

with

different

of leaves

and a proportionate
in

number of buds and

leanmg
the
style,

Some bunches
pairs
is

are disposed vertically, others

a more
connect

and
This

numerous

of

young leaves arc arranged

between,

to

whole.

arrangement
gardening.

one

example of a kind of flower composition almost

plants

resembling

miniature

The

are held in their position by the sand and

pebbles, and no other visible fasteners should be employed.

The
blossoms.

Iris

sibirka

is

arranged

in

a somewhat different manner, the flowers being

the
leaves

placed higher than the leaves, whereas, with

Ins
are

Uevigata, the

blades

rise

abo\c the

Another

peculiarity

is

that the

arranged

in

regular gradations and

not in indented

triplets.

The
together

Iris

may be seen
fir,

in

Plate
at
b,
it

LVII..
is

at

a,

arranged
an

in

large

basket
in

with a

branch of
vase.

and

shewn

as

independent
is

composition

a small
a

bamboo

One
held

of the subjects in

Plate

XXVI.a.

that of flags placed in

Well-frame vessel,
of
irises
is

and

by

metal

Crab-faslencr.

In

Plate

LVII.

large

design

illustrated,
in

forming one side of a

paired
it.

floral

arrangement,
is

the

Asfer

tarlavicus

being

placed

another vase opposite lo

The

iris

often arranged with

vessel.

other water-plants, such as the

It
is

Nuphar japonicmn and Rhodea

with
trees,

japonica, in a broad

also

to

be

seen

combined

such as the wistaria, maple, and Nandina

domcstica.

ARRANGEMENT OF
Two
and
is

PEONIES.

-dlsiinct

varieties
l\,,',ua

of this

plant

are employed for

lloral

dr-sign^,
n|

nnniely. the
si/e,

Beonia luaufau
generally

,u>d

ll>.-

alb.lhm.

The ronner prnduccs

v;is..'s

bl..s^nn,s
ii.nv,
r

miiUMisr
-.1..

.11-1.111-.

in

ni.Ir-nioulhrd hn-nir
cnnjuncLion.

m- ^nliqu.'
olbijlorn.

In

k,
i

n,,

,,ih.T

flowers

being

]>er[iiiu.'d

in

The
be used

Po:o>!i,i

;i

sin.illri

-,|h

i.

'^

wIulIi

goes by the
ing
irtes,
is

name

of Sliakityakn.

may
to

in

combination

with

branches uf floweriimihii, or large

but

should

not

be

joined

with

other plants.

The

JVoiiin
tlu^

peony,

one of the three flowers

which are attributed royal rank,

alone,

olher
in

two being

the cherry

and

the lotus.

It
is,

must therefore be used on the

and placed

the position of

honour
arranged

in

a chamber,

it

that
in
is

dais of the principal recess.

place,

It

should

never be

on a shelf or

any secondary
used
to

and
This

all

other flowers must be excluded

is

from the room which

decorate.

rule

professedly followed out

of

,,6

ARRANGEMENT OF FLOWERS.
peony as queen
practice consistent

respect for the

of
with

all

flowering plants, but

artistic

its

luxurious character really

renders
material

sucli

purely

considerations, the addition of otlier

being

calculated

richness to produce a surfeit of

is

and elaboration.
restrictions.

The employ,

ment of the cherry blossom

also subjected to the

same

It

is

customary

in

arranging the large

peony

to introduce

between the

principal

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

the blossoms are massive

leaves,

and heavy

in character,

they should be
beinjr

sparingly introduced between the

rarely

more than one full-blown blossom

opened
flowere.

used

the

remainder
in

consists

of buds and

jjartially

Kor

the ordinary

composition

three lines, five or seven blossoms

may be employed, one

for the

Pn'mipu/

one

for the Secondary,

one

for the

Tertiary, and the remainder distributed in

intermediary

positions.

The
are

leaves are carefully

disposed so as to give support to the flowers,

and

in

some

cases

made

to cross in front of them.

The

leaves

surrounding the

Sccotiiiury

blossom should be large and closely grouped.

leaves, because
art motives,

Thej- are technically called the Lion-hidinp

is

the

presence

of the

lion.

which

associated with peonies in decorative

foliage.
.^

is

supposed to be suggested behind the thick

Tertiary, with the addition of strong

flower bud

should

be used for the

young

leaves.

The nmiia
as the larger
half

albiflora,
is

or

small

species of peony,

is

not held in so

much honour

kind,

and

often

combined with other

for the
is

plants.

In the case of this plant

for

opened

blo-ssonis are preferred

Principal,

full

blossoms
in

the

Secondary, and
into

buds for the

Tertiary.

The peony

sometimes arranged

wide basins divided

separate groups.

Illustrations

of this

flower,

.irran-ed

in

diff-.-rrnt

kinds of

v.lses,

may

be seen

in

ARRANGEMENT OF
As has been
w,.h
the
sp,r,ts

LOTL'S FLOWERS.
is

stated
dea.l,

in

an
is

early

part of this work, the lotus plant

associated
at

of the
It.

and

therefor,- consideretl out of place as

in

a decoration
regarded

esttve gatherings.

however, holds high rank

of
India

the

Horal

Art.

k.ng
da.s
,

being

of

as

the

owets be

the

source of
all

of

Butidhisn,.

When
and

must

employed
it

on
be

the

given

precedence

other

flowers,

would

con-

regard

a.s

the royal

flower

of

China.

.e

ea.se

of

the lotus

plant,

the

kaves

PRACTICAL EXAMPLES.
play
to

127

the

most
all

important

part

in

the
lotus

conipositioii,

this

being a
selected
future.

rule

which

applies

nearly

water-planti.

The

leaves

should
past,

be

to

express
is

the

idea

of the three

Buddhist divisions of time

present,
leaf;
its

and

IMst time

represent-

ed by a partly decayed or worm-eaten

often called the Mirror-Uaf,

Present time, by

a handsome open

leaf,

on account of

resemblance

in

shape to that of a Japanese

mirror

and future

tinii-.

by a curled

leaf not fully open.

This

plant
it

should
often

be

arran^'ed in

wide-mouthed
water-plants.

vase. Saiid-hasin. or

Tub, in

which

vessels

is

united

with other

As an example
iris.

of such com-

pound arrangements may be described a combination with the

(Kohnne).
so
in

Niipkar japonicitm

Alisma planiago (Omodake). and

rush, with the addition of ornamental stones,

as

to

form a sort of miniature lake scene.

basins,
is

A
in

general rule applying to

floral

designs

broad

that

tali

plants

suggest shallow water, whilst those short

in

growth

suggest deep water; and as the lotus flourishes

its

comparatively deep water, the

stems of

leaves,
is

in

a compound design, are kept short.

followed
in

The

idea of }^-incipal Secondary and

;

Tertiary

the disposition and character of the leaves

for the
for

Principal,

a
a

large round leaf being employed, for the Secondary

a smaller

leaf,

and

the

Tertiary

young and
Secondary,
the

curled

leaf.

An

open

blossom
in

is

introduced between the Principal and the

is

and a flower bud. kept low

position,

placed between

tlie

Principal and

Tertiary.

The
an

irises are

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

from the

lotuses,

open

flower

being

used for the Principal, a half open flower

Tertiary,

witli

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

two or three more

The Nuphar japonicum

oval
leaf

is

next placed

in
it

position,

iu Principal consisting

of a
place used.
is

large

of interesting
whilst
for

shape, and below

the
Tertiary,

half oix-n

Hower occupying the

leaf is

of ,the

Secondary,

a young and only partly opened

The

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

introduced,

Alisma plantago

afterwards

separated from the

rushes

by a short space, with two leaves

in style

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

the

to

that

of

Nuphar japonicum.

but bent

in

an

opposite

direction.

Of

the

five

plants in this

combination
others
in

the lotuses and nishes are disposed

Horizontal-triangle
style.

in

the
are

Vertical-triangle style,
all

and the
the

the

After

thej-

arranged

in

position,

stones are added to connect the whole group together.

ARRANGEMENT OF FLOWERS.
ARRANGEMENT OF ClIRVSANTHEMUMS.
\

consic with chrysanlhemunis are

skilfully.

red very
2

difficult

to

arrange

Of

this

flower there

many

kinds,

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

chrysanthemum.
seasons
2S,

also a later species exists called the Wintei

Characteristics

of growth
floral

at

the

differen

are

faithfully imitated in

compositions. of
the
to

In Fig

are

shown

there

separate
the

sprays

small

Summei

chrysanthemum,
dc^siffn.

and
be

same

combined

make

It

will

observed

that the lines of this coniposi

strong and vigoroii

ter

esjjonding with the

In contrast
to
this,

charac
1^

of

Summer

growth.

Fig.

rangement of Au-

tumn mums,

chrysanthe-

which

i^

altogether

more
style
will'

mature
in

in

accordance

This
cs to

great
freshness
It

preserve
leaves.

in

the

should

be

cut after

sunset,

and the

ends of the cuttings should

be burnt to charcoal, and placed

siderable

for

a con-

time

in

water

before

wedging,

so as to prolong their
are
to
brittle,

vitality.

The stems
in

and need great

skill

bending
per-

the

desired curves, very

refractory

PRACTICAL EXAMPLES.
The blossoms
in

of the
31,

small

clirysanthemiim.
in

as

shown

Figs.

2S

and

are

massed

groups,

generally

consisting of an uneven

number of
methods
auxiliary
In

flowers.

Figures

29

and 30
small
tree,

illustrate

the

of
to

grouping
a branch

togetlier

chrysanthemums as
in

of

some
sprays
\\vi

a mixed composition.

Fig,

29. three

are

used, of

and

in

Fig.

30,

five

arc employed.

With

species

large

flower,

the blossoms

ed and of
ber.

lii

each

stem

bearing

three
are
faults

flowers,

said

to

be

which

must

guarded
the
large

against

disposition
flowers.

of

A
nut

blossom

must

be turned
as
to

away su
its its

present
it

back
full

in

the
to

compositio

nor

must

turn

disc

view

flowi

of

the

same

length

so

to

be

exactly

in

must three blossoms be

ngulai

arranged

in

form

the disposal of blossoms

to
;

in regul;

steps

is

objected
described,

cobnr-sandiuiching,

previously

is

another

fault

to

guarded

against

a
at

large

open

blossom

should not be put

the

lower part of the

should
not

composition

and
leaves.
faults

flowers

be

hidden
to

by

To
small

correct

a tendency

^^^
'^

the

above

bamboo

skewers
illustra-

carefully

hidden are employed.

32

The

tion

Fig.

shows the method followed

having large
blossoms
flower

in

arranging

plants

or

large clusters of flowers.

The

shown

ARRANGEMENT OF FLO
is

VERS.

the patrinia.

re seven There are se\'en

principal flo

clusters,

which are

essential,

marked A.
Principal
flow,

B. C,

D, E, F, G. corresponding
T^-tiary, Sub-prindpal, Side, and

lined composition.

Secctiiary, Support.
d. e.
f.

Trunk: and the

additional

if.

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

In

addition
at

to

the special
seasons.

form

by

tlie

peculiarkir

of

j^Towth

diflcrent

three
tion

general
are
;

styles

of

composifor
floral

recognized
namelj",

designs
stj'le.

the

finished

tlie

iiifermcdinry style, and

style.

the
tions

roit^/i

'l"hcsc

dis

correspond
by.

with,

and^

described
as

the
to

san the
square,

those
grass

applied

and

or

running

Chinese
different

ideographs,

and refer to
of
In

degrees
sirfc/iint-ss.

elaboration
Plate

or

XL\'II.a.
ar-

are

shoivn
in

chrysanthemiinis

ranged
bination Plate

a rou^/i style
with
other
t

LXII.

exhibits

positions

of chrysanthemums
style,

in

more fimshed

one representin

ing these plants disposed

lines,

five
''K--

with

seventeen

blossoms.
tlic

v-

a fancy bronze vase, and

other showing
in in
all.

triple

design

in

bamboo
tlieso

vas

three

mouths, with fourteen

is

blossoms
illustrated

A
9.

ron^A arrangement of

flowe

a special kind of basket

Fig.

page 6.

ARRANGEMENT OF NUPHAR jAPOmCUM.

The Nitphar japor
water-plant
for
flnr.d

accoimt of

its

beautiful oval leaves,

is

a favounte

design

arranged

in

Sand-basim and

Tubs,

the

Horse-tub

(r"

fp

PRACTICAL EXAMPLES.
being
meuil

131

by

preference

selected,

and

tl,c

Horses-bit.

or

some

other

fancy

fuslener ot
their

employed.
are
gracefully

The

largest
at

leaves
their

of

tliis

plant

hang

horizontally

on

stems,
arc

and

curled
as

edges
to

like

those of
the

the

lotus.

The stems
of a
plant

j;enerally

arranged
shallow
in

long

as

possible

convey

impression

which
is

grows

in

water.

This rule becomes specially important when the nuphar

with

combined

single

vessel plants
to

other water-plants

which

flourish

in

less

shallow

pools; such

deep-water
so
small
as
in

being

purposely

kept as

sliort

as. possible

and placed
llowcrs
is

more
this

centrally

suggest the idea of greater depth.

with the leaves, their
in

Though
in

the

of

plant

are

comparison

position

a design

much
two

studied,

and the leaves are arranged

introduced
half into

reference to

them.

Seldom

more

than of

or three are

single

composition,

and

these,

consisting

bud

and one or two

open blossoms, are grouped between the Pyincipal and

Tertiary

For the Principal, a

than
the rest,
is

large
to

and
left
;

slightly

curled
;

Itraf

is

employed, placed higher

Si-iominty.

and extending
fixed leaning to

the

of the design
for the

for

the

a somewhat

smaller leaf

tlie

right

Ti-rtiary, a small rolled ieaf.^tcchnically this

is

called the Horn-leaf^

allied the

is

added below the Principal, and beneath

a young bent leaf

IValcr-toiichiiis^-lcaf,

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

The
width,
side,

slender stems of this

is

plant

when arranged
to

as

above
a
of

show a

deficiency

in

and

it

usual

in

broad

water- vessels

introduce
siiace

secontlary

clump

at tlie

removed

from

the

main

composition
leaf,

by the

a few inches.
if

This

may

consist of a single flower

and one small

kept very short as

just sprouting from the

Poitbh'-wcll-bitckds arc often

chosen

for

arrangements of the Nuphar japonicniii.

in the

In

Plate

LIX.a.
the

may be seen such a

clematis

composition
into
(Plate

lower of a pair of suspended

in

Well-buckets,

being

introduced
illustration,

the

upper one,

a hanging style, with

long

Stn-amer.

Another

LX.n.),
in

shows the same water-plant

disposed with seven leaves and two

flowers,

and

Plate

XLIX.a.

it

is

combined

in

large Sand-basin with a high group of bamboos.

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

its

long sprays of yellow blossoms,

grows

in

abund

specially associated with

the scenery of the

Tama-uawa

Wc
panying

Kit

The
Fig.
33,

illustration.

represents a composition

made

with

the

Kerria

in

a broad
to

Sand-basitt,

intended

suggest

such
are

river-scenery.

The stems
cylinders

held

by long
basketimitation

of

bamboo
in

work
of
the

made

ya-kago.

or

huge

baskets holding boulders which

are used to break the current

of
are

rapid

streams.
to

Stones
the

added

comjilete

idea of the natural view.

The
IS

Kcrriit

jajiomm
.arranged

also

frequently

in

suspended
the

receptacles

and
a

Eoals.

stems

having

over and reflected

nor
fruit

leaning character given them with the object of preserving the notion
into
its

of lloiv

stream
at

The popular fancy

hanging
eithi

prohibits

cmplojment

that this plant bears

wedding ceremonies.

Plate
in

XLII.
and

illustiates

defective

-,d

^.-ding

vases,

Plate,

XXXV,
as .

rX,,

Ho,-sc..l with the

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

'-''"

H,;^s4ii

usetl

ilH^

""" """"

'"^P"''"'

ARRANGEMENT OF NARCISSUS FLOWERS

t

important plao

Spring

tloral

arrangements during the Winter

plants are

ear

when other blossoming

PRACTICAL EXAMPLES.
scarce,

33

sweet

in

scent,

and of golden

colour,

il

considerably prized

by the

flower-artist,

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

white, which
is

om.

exist,

but with the exception of the

sometimes used on ceremonial

these rare specimens are seldom

leaves of this plant receive chief attention,
flowers
;

seen

in

floral

compositions.
in

The blade-shaped

and

are

used

much

greater

number than the

they are removed from the

<

sheath, and are separately pressed and rubbed on

a board to take

which the

he.it

of the sun gives

them

in

tlieir

natural state, a single curl alone being per-

missible for leaves

tions.

employed

in

composieasily

The younger

leaves are

smoothed and
fingers,

straightened

with
are

the

but the large ones

refrac-

tory and require

tience.

much

labour and pa-

Thus

altered they are attached

together in pairs consisting of one long

and

one short

leaf,

with

the
in

longer
triplets,

blade in front, or sometimes

and these bunches arc employed

the
different lines of the

for

arrangement,

with

the

flowers

placed between, and the leaves.

I'ig.

.always

lower than
first

34 shows
to pieces

a narcissus plant pulled

the

and its sheath removed, then method of smoothing the leaves

the fingers to take

with

out the
in

curl,

and afterwards the way

manipulated
pairs

which the
in

leaves

are

connected
of saliva

and fours by mean

replaced
sheath.

and

the

Fig.

35 shows
of these

'"
leaves of which the highly
in
in

=1

combinations different artificial

.uc

curled

only

sp.aringly

introduced

into

compositions;

and

Fig 36
water

is

illustr.,ted

also a trilineal completed

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

and
u

flowers.

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

^'^'---^ 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-

^l

The

lengths of

made

season, being shorter in to vary according to the particular

If

"";"^'" ''=";/; Winter than m bpnng

and held upr.ght by small

Igen'ents.

the

bLsoms

droop they are

carefully straightened

ARRANGEMENT OF FLOWERS.
,vitli

narcissus

is

shown

in

Plate LXlV.ii.

double
is

arrangement
illustrated in

of

willow

aiu

narcissus
in

Plate

LI.a.. ant

Plate

XLVII.a. may be seen a

in

iripl.

composition

a high

bamboo

vase,

ii

which the narcissus

position,

occupies the

centni

with

plum branches above

,

aiv

chrysantV

below

ARRANGEMENT OF CHERRY
BLOSSOMS.

The cherry blossom, being n

others for

warded as the king of indigenous flower

las

precedence of
It

all

floral a

rangements.
lonsidered

is

prefer-

able to use branches of cherry

alone,

blossom

and they are

but rarely combined

with other
branches,
with
flowers,

rape
;

blossoi

with

to

be

though they are hardly

<

ed ortliodox designs,

It is said that, in

making arrangements with

must
not

clierry

blossoms,

the

scissors

be

used.

Though
sliould

this rule is

not strictly followed,

little

the branches
possible,

be trimmed and bent as

as

and

die composition
artificial

must partake more of a natural than an

In
in

character.

accordance
floral

Avith

the

distaste

for

over-exuberance

designs,

the

cherry

of

PRACTICAL EXAMPLES.
small and
single

,35

blossom

is

selected

in

preference

to

the

richer

specimencs of

dovible

blossom.

A
soms
in

composition

made

with cherry flowers should

li

sparse arr.inj'e-

ment of buds
the

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

middle,

and a few

in

full

bloom below.

Several fallen petals should be placed

vase,

in

the water of the

left

and any blossoms which have dropped may be

remaining on the flower stand.

it

From

the above rules

is

will

be

observed that the prevailing

idea'

to
its

reprenatural
to burst

sent the cherry-tree as nearly as possible in

state in
into

whicli

the lower branches are the

'I'he

first

bloom.

scenery of picturesque spots famous

supplies

for the

wild clierry-trce,

the

motive
is

for certain

compositions.

In Fig. 13. page 68,

in a

shown

simple

bunch of blossoms arranged

small flower-basket placed

on a miniature

raft,

intended to suggest the flower-laden

the rivers at Yoshino and Arashiseason.
In Plate

boats which float

down

yama during
n, is

the
a

cherry

LVI.
sprays

at

illustrated

composition
in

made

with

of

the weeping cherry placed

a hooking flower-basket.

ARRANGEMFNT OF PEACH BLOSSOMS.

The peach blossom can
ceive attention
in

hardly be said to reits

Japan

in

proportion to

great beauty

'"'

^'

and

richness.

The peach

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

but their
e.vuberant

gathered
for

branches,
taste

tliough

often

employed

in

floral designs,
is

are

somewhat too
in

the

of the

flower

artist.

The peach The

used chiefly

flower com-

positions during the girls' festival of the third month.

cuttings are then considerably

thinned out,
half-open

most of the full-blown

buds
left

flowers

being removed, and only a small

in

number of

blossoms and
is

distributed
it

masses amongst the

foliage.

The

flower

of double blossom

never emplojcd. as

is

said to

have poisonous properties.

In
r-baskct.

Plate

LW.
in

at

a,

is

shown an

of peach

blo!
n,

together

with

the

Rosa

imiiai.

the peach

anged alone

a hooking basket.

ARRANGEMENT OF FLOWERS.
ARRANGEMENT OF CAMELLIAS.
Tl,e

red

and

vvhite

camellia, both single,

in

and double, are much used

for

Spring

arrangements,

.hough

generally

contbina.ion

with

odv.

trees or flowers

Their e..

ployment

in

Lns.

There

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

a prejudice against

which does not

gestive
it

fall

to pieces petal

by

petal like other flowers, but

drops

ofl-

bod.ly, sugit

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

said, of a

On
which

the other hand,

is

held

in

has

been

much used

for

various
floral

leaves at least must

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
;

times

they

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

above
tions.

them.

The white

camellia,

if

in

season,
is

is

much used
five

at

Coming-of-agc celebrafifteen

The

favourite kind of composition

one of

blossoms and

leaves, each

flower or bud being surrounded by three curling leaves.

Examples of designs
Lll.i!.

in

which
the

the

camellia
in

is

introduced

may be seen

in

Plate

where
:

it

Is

combined with
it

willow

a suspended bronze vase

of crescent
Plate
Ll.it.

shape
a

in

Plate

XXV.,\.
called

is

connected with the peach

Camellia sasanqna
suited
for
is

and

narcissus.

In

particular

kind
are

the

shown,

arranged

with

the

willow.

Bamboo

vases

specially

camellias,

those of the Lion s-motith

shape being

selected by preference.

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

delicate

stems of creeping plants like the

according to
or
twigs,

convolvulus and morning

the Flower Art.

are

difficult

to

arrange
stumps,
In

the

lineal

rules of

Thin

bamboo

rods,

withered

are used

as a basis in forming a composition,

and the design consists

be detected
the

radical

and buds, in which can elements of Principal. Secondary, and Tertiary. For the lower
open blossoms.
Rikiu
Is

a judicious balancing of leaves, flowers,

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

said to

simply of one flower and one leaf of the

con-

(^
1^
Si-^-^--e^S^.^
^'*;'''-^4j

.^

rr

"

'

,'

r"

'^V'VU,^

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

'37

T.a-roo.s.

Upon heing

asW

m
ed

l,er

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

(lower
to

wuh one
believe

leaf

bemg
the

sufficient,

he maintained, to

call

for admiration.

One

is

temptaccept-

that

difficulty of
.

arranging creeping

plants
-..t

according to the
i .
.

ed standards of
experienced

lineal balance, may ..my

nave naci mnro to have had more tr.

,u . do with such a departure than the

of the Enshiu School invented a

master was ready to admit.

in

The founder

method of employing the convolvulus

the

a Hower-basket.

by winding the creeper round

is

long

oval

handle

of the

receptacle.

Such a composition
in

page 58.

illustrated in

Fig.

6.
is

convolvulus of three blossoms, placed

a standing vase on a

Iiigh table

shown

in

Plate LXI.a.

ARRANGEMENT OF LESPEDEZA FLOWERS.

The
for
floral

lespcdoza
at

is

the principal of the

Seven Plants of Autumn, and

of
its

is

much used

designs a

this

season.

On

account

numerous small oval leaves and

is

liny

flowers,

full

and crowded arrangement of sprays

is

generally resorted to.

When
group

placed in standing vases a trilincal composition

followed, each line consisting of a

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

The lower

or

Tcrliary line

may be composed
wild boar

of a

number

of short stems only sparsely supplied with leaves and (lower

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

buds, and curved in such a

is

manner

The

supposed to sleep beneath the Icspedeza branches, and

plant.

associated In art

with this

Autumn

There

is

an early specimen called the

Summer

lespedeza, and this

plant,
in

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

to

Autumn

order

preserve
In

its

special

character

of growth,

which
the

is

less profuse
is

than that of the later

season.

hooked or suspended

receptacles,

lespedeza
a

employed with a long

and quiet
in
It
is

Sircavtcr, the other

ner.

bnnches being kept

placed
is

short and disposed in

simple
is

manPlate
also

Such

an

arrangement,
lespedeza

in

crescent-shaped
in

vase,

illustrated

LIII.ii.

The

often

arranged

suspended

bronze

boats.
villosa.

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

Vakn'ana

Piicraria

thitnbergiana.

and the carnation;

making together the combination

called the

Seven Plants of Autumn.

ARKANGF.MENr OF FLOWl-KS.

ARRANGEMENT
This
waler-plant
is

OI-

THE RHODE.l yAPOh'fCA.

its

valued Tor

beautiful large leaves,

which are

arranged with
according to

the greatest care

its

and precision, each important one receiving a special

;

name

position or function in the design, as follows

The
tlie

Cnih-al-hitf,

arrangement.

The

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

stem.

The
tip.

Aiilumit-U-<i/, placed

the background of the design,

and having a faded

in

withered

The

Dr.u-siipporliiig'lcaf,

employed
curl

in

front

of the Principal

Snrlncy

and

Summer

arrangements,
in

and

having a

upwards.

The Dno-spiUiug-Icaf,
downwards.

used

behind the Pi-indpal

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

Autumn and Winter

of two

designs, and having a curl

The

consisting

young leaves lapped together so as

to present a

double
leaf,

lip.

and placed between the larger leaves of the composition.

bends over some distance above
frost.

The

Frost-prolcclinrif

which

the

berries

of the

rhoden, as

to

shelter

them from snow or

son,ewhat lower
in

The
if

Wind-proteclmg-leaf,
to screen

which

also curves over the berries

position, as

them from wind.

The J)erry-proM,;,g-lea:ci

's

being two or three leaves disposed below and around the berries and from between which appear to spring in some arrangements these consist of withered leaves It is con in.perative that, in floral designs made with this plant, the leaves shou'd ^hUl\ proper balance of front and back surfaces. The colour and gloss, to which great attentioi,

they

sidered

g.ven,

are

much

m.proved
in

by

sprinkling
liquid,

the

leaves with

sai:-.

stems for several hours

and imn,ersing

their

the

same

In

disposing
threes. ces,

the
In ,n

leav
t.us thi

composition they are

for

piled
first

r-.- and
i

in

a step-like

maun

way,

seven-leaved design,
;

placed, then another pair,

a pair of leave,
1 lo

and lasdy three together

foli.age,

down, screened and partly hidden by the

the berrifs are always ntro 'ntroduced '

Arrangements of
_

si.

different

styles

are recognised for the

.^

'o.h the

""i-""""

^^spmrz"'z^::z:Tt^ 2
"
which the

':''

''"
'''"

'-

''""'

^'^-^

A.../-w,,L.
and
the

withered leaves are <l,scarded,

\J

''"''''-^'"'"'"''

'"'i '''^'
as

^'""'"'""introduced,
in

'"
all

be berr,es

'--^ "=
low
as

are

kept

possible

posi-

PRACTICAL KXAm'LES.
,lon.

Spri..,-a.rasc,c,. suited only f. ,e early ,onU,s of ,he n,nny young leaves are used. The Su.,a

The

cn of

number of

ye,r, in .hid, arn.,,c,,. dis,ing>,ished by ,he in.roduc

front

Au,...^arrau,.c^,
allowed.

The

large leaves, with the addition of one withered leaf in in which several withered leaves are placed and no

The

young leaves

Wrvlcr-arrangcmenl.

consisting of

a majority of withered leaves with the

addition of the

Swaltow s-mouth-leavcs.

ARRANGEMENT OF LEAF ORCHID.

The Chinese
rangement
tions
in

orchid,
floral

called Ji,im,
its

is

one of the

principal subjects for

leaf

ar-

Japanese

design, and

treatment serves as a model for most composiflowers, being small

made
them
its

with large-leaved plants.

The
arc

and

insignificant, arc often

omitted,
raise

but,

when employed, they

in

attached

by

means of

thin spikes of

bamboo

to

slightly

position.
It

The Baran
cut
in

requires very careful treatment in order to

preserve

freshness.

must be

the early morning or after sundown, and

its

leaves are then curled up, tied with string, and immersed in water for
use.

some hours
for

before
in

In
well.

very hot weather

it

is

customary to suspend the cuttings

is

half a

day

deep

To

give a good colour and gloss to the leaves, sake

forced

up

their stems

before immersing in water.

This plant

is

generally arranged in a water-basin, sand-basin, tub. or other

In
its

wideleaf-

mouthed

receptacle, with the addition of ornamental stones.

natural state the

orchid has always one

floral

long oval leaf growing centrally and higher than the others, and
is

in

compositions this
is

used as the Pi-huipal, and

its

is

called the End-leaf.

The bottom
Tertiary in

leaf

of a series

small,

with

point arching over

it

corresponds to

the

floral

arrangements,

and

is

called

the

Finishing'lcaf.
spirally,

Another

special

leaf

introduced

into

certain compositions

is

one curled up

and

called the Spiders-leaf, being copied from

leaves which are curled by the spinning of insects.

heating.

This

form

is

artificially

produced by
is

ragged
All

leaf

called

the

Decayed-leaf,

made by

tearing

and

scraping,

ocin

casionally added.

the

leaves

of a composition including the above, are arranged

lines

positions

corresponding with the radical

of a

floral

design, each leaf counting sewill

parately in the combination.

as

Thus,

in

a three-leaved composition, the End-leaf

Spiders-leaf as
In the
Tertiary,

be used
an
in-

Prindpal,

the

Finishing-lcaf

Decayed-leaf or

and
for

termediary

leaf

will

occupy the position of Secondary.

leaves,

same manner,

a larger

composition

of

thirteen

the

Finishing-leaf

is

placed as Principal at the top and

ARRANGEMENT OF FLOWERS.
centre of the design: .o
tl.e

rigl.t

and below are arranged fonr

Supforl.

leaves

ealled

respectively
left

Se,.,Ary. A.vil/a,y
fixed four others,

lo

&co,ulary.

and AuxUia,y

to

Supports to the

are

a De<aycd-Uaf: and

Support of Tertiary. Auxiliary of Tertiary ^.c^i described as the Tcrliari: of the B-icipal. are placed four along the centre, roimd the stem
order

more, named

in

their
to

from

above.

Support

of

I'rimipal.

SiA-pim. Trmd-pim.

and Auxiliary

Trunk-piece.

All the

stems

of such

composition

are closely imited

in

single line at the

in

base

for

distance

of several

inches

above the surface of the water, and the leaves

most cases overlap one

as

anodier considerably, only a few of the important ones revealing

much

as

two

diirds of their length.

The
each

distribution
leaf,

and balance of
its

leaf surfaces receive

is

considerable attention, so

much

so, that

in

addition to

other names,
leaves

distin-

guished by
twisted
in

die

term

Fronl-smface-leaf or

Bact-surface-lcaf.

All

are curled or
degrees, so
In that
Plate
in

some

way, to show

a portion of both sides, but rarely in equal

its

that a Frout- surface-leaf L.A. this

would reveal only a point or edge of

is

back
It

surface.
is

balance ,of surfaces

consisting

clearly

indicated

by

shading.
the

said

composition
should

of five
leaves,

leaves,

three,
it

including
that

End-leaf and Fiuislting-leof.

rules

be

Front-surface

but

appears

no

strict

are followed

in

this

respect, a judicious balance

and pleasing variety being alone sought.

Plate

XLIV.

is

instructive
side,
in

as

showing defective

and

corrected

arrangements

of the Leaf orchid side

arc altered.
illustrated
in

by

which not only the lines but the surfaces of the leaves
with
the

An

elaborate

tlesign,

same

plant

in

a hexagonal bronze

v.ise,

is

Hate IX.v.

The Leaf-orchid is occasionally used in combination with other trees or plants, sometimes as the auxiliary, and sometimes as the principal member of such double compositions.
It
is

to

be seen occupying a subsidiary position

combined with the Nandina

domcstica, Forsythia suspensa,

and large chrysanthemum, and widi the small chrjsanthenuim

and Papaver

rlioras

it

holds the principal position.

ARRANGEMENT OF MAPLE BRANCHES.

Ihe
maple, next
to

the

pine,

is

the are

most important

flowerless

tree

used

Japanese compositions.
rl

Of

this

tree,

there
the

two kinds,-the Spring maple, which

maple, which
is

when

the

young leaves open, and

Autumn

green

in

Summer, an

PRACTICAL EXAMPLES.
turns crimson Uiter on in
tlie

,41

year.

Floral

artists follow

several fancy styles of arrange-

ment with maple branches, which are

as follows

The Suurisc-arrangancnl,
tlisplay their front surfaces.

in

which

the

leaves

of

the

Principal branch should

The

Snnscl-arrattgemcHt, in which the leaves of the Prittiipal

branch should
in

have

their

under-sides

turned to the spectator.

The Cloudy 'WaUher-styk,

idea of this last style of

whicli leaves should be curled and sprinkled with spray.

is

The

composition
tlie

taken from the appearance of the wild Maples of Ogura-yama near

Kioto,

leaves of which are often curled by frost

The

Tsnhn-arrangcinent,

in

which green

leaves are used in the upper, and red leaves in the

lower part of the composition.

The

name
from

refers to a spot called Tsuten,

famous

for its

maple

trees, the leaves of

which redden

below.

The
line the

Tatsiila-aryattgcmetit, so called from a place called Tatsuta,

where

fine

maple trees

banks of the stream.

In disposing the Principal

mass
in

in this

composi-

tion, several of

the larger leaves should be removed and placed floating

the leaves which
fall

the water of the

flower vase, to suggest

oft"

into the river,

A
The maple

combination of maple branches with chrysanthemums

is

is

shown

in I'late

XXV..\.

often

used

in

water-basins, and sometimes

in

combination

with the ins or

other water-plants.

MISCELLANEOUS.
The above
most
often
includes those description of special arrangements with certain flowers

introduced into

Japanese

floral

compositions.

Nearly

every tree and plant,

however, the blossoms or

occasionally introduced

foliage of

which possess any beauty or

either

attraction,

may be seen
of
to charactertraditional

into
is

designs,

singly

or

in

combination.

The manner

treatment and combination

istics

based upon the principles

already expounded as
in

of

growth,

locality,

sex.

and

season,

controlled

many

cases

by

fancies.

The examples of Nuphar japcnicum. may be

compositions

witi,

leaf-orchids,

RImL., japonka, lotuses .ml

havrng
large

plants taken as models for arranging most

oval

employing plants hav.ng narcissus may be followed in leaves, the designs of irises and illustrate the manner of arrangements of clematis and wistaria Ion., blade-like leaves; the with plum, cherry, peach, creeper variety: the compositions treating trees and plants of the

,_,,

ARRA.XGEMENT OF FLOWER^,.
for

and willow brandies serve as examples

blossom-clad
trees
;

the disposition of other straight-brancheil and

and the treatment of chrysanthemums and peonies can

large ponderous

be taken as a

yuidc for arranging most plants having

blossoms.

It

only remains to allude to a few examples

in

among

the acconipaying

illustrations

which have received no special notice

other parts of the work.

Plate

LXV.A. shows an example of the Rosa

imiica, (Choshun), arranged

as

an

auxiliary in combination with branches of peach blossoms in a large flower basket.

Plate

XLVII.B.

illustrates the Ilex sicMili.

(Ume-modoke),

in

.1

triple

arrangement,

placed

in

a high

bamboo

vase.

Plate LII.,,. exhibits the

Tccoma grandijhra. (Nozenkazura).

separate design of

in

a suspended crescent(Kinsenkwal,
in

shaped

vessel,

balanced

by

Calendula

officiitalis.

Plate -XLVIII.,,.

shows the cabbage-plant. (Ha-botan), arranged

in

mg

a globular stand-

vase.

""'

''^'"'

"'"""'" ""

^''"""'""

'"'*'''*"

(N^deshiko).

placed in a bronze

Plate LXIII.,,. represents the Fnl.ia

o:.A,.

an arrangement of seven leaves.

(Giboshi), a large-leaved water-plant

Other plants occur

in plates

which are intended n.ainly to

illustrate

diflV.,-e,t

-bed ^r;^!^::'":; :^ ---".".=.

in

i-

a creseet-shaped vessel

miArella, in Fig. ,4 page ;o a,id ' ^ Plate LVII.

"' "'"' """"''^' "' '"-- ''^ze ., .1 ^""' """''"" " P^-^t -* =>" arrange,ent
of
irises

APPENDIX.
RIKKWA
"^"^iRIKF reference

STVLR.

^S
u

'l(g)))tlie

/^i^

RiHiva

already been iiinuc tr> a nrimi.i ,i j made lo i primilivc mclliod of airaiigiiig * floHcrs. ca or Shiit-iio-haiin style. ill In Plale XI iiaiL Ai. ,\ n Hi->rrr-, showing .1 .1 J IS a diagram tlic tlicorel
lias
.
i

of tlic governing lines in a Rtkkiv compositio or centre, refers to the central and vertical line or mass; Sdshin a smaller mass just below the Shin, and in the same line

distribution

^ core

is

the

name given
is

to

with

it;

Soyc,

meaning adjunct,
most important
;

the

principal
lateral

lateral

member on
to the right,

the

left

Uke.
the

meaning dependent,
is

is

the

of the
it

members

Above

Uk,

the M,koihi, meaning distance

front-piece,
is

and below

is

the

Nagashi, meaning streamer.

The Mayeoki. meaning

line or

placed centrally at the

trimlv-piece.
is

bottom of the composition.

Another

mass called the Dosukiiri, meaning

in

often

added
Still

to

these on the

left,

thus making seven lines

called

addition lo the Slmi, or central member,

is

an additional

member
in

the Hikaye. or support,

occasionally introduced, hut

it

is

not

considered desirable

the most correct compositions.

The Shin
central
It is

is

the

principal
in

line

of

floral

composition.
it

Theoretically
often

it

should be
diverted.

and perfectly

vertical, but

the less elaborate styles

six or

is

much bent and

said to hold the

same

relation to the

seven other lines of a Rikkwa arrangement that

a lord does to his vassals.

latter

The

former, therefore, should exhibit stateliness

and repose, whilst the

its

express force and movement.

The

auxiliary

members

of

a composition arc necessary to

harmony and completeness, but

like the various

instrumentalists accompanying a graceful dancer,

they are administrative chiefly to the central object.

By

such analogies as these, do writers explain

the relative values of the difllerent parts of a Rikhiua design.

Material of a thick and heavy nature, either

Shiu.
Its characteristics

in

stem or

foliage, should

be avoided

for

the
is

should be straightncss, height, and lightness.

its

branch of young pine

frequently
suitable
lias

chosen,

on account of

erect

character

and pyramidal termination, which makes a

Anciently

apex to the composition.

The
it

pine,

moreover, being regarded as the king of evergreens,

a symbolical value which renders

particularly adapted to ceremonial decorations.

this tree alone

was selected

for

the central

member

or

S/iiii.

Aftcwards, other material

became

erect and occasionally substituted, preference being always given, however, to trees or plants of an The bamboo, willow, nandina, fir, oak {Qiiercin doUata). plum. Juniper, attenuated growth. Tlie material of the Sfiin to some extent persimmon, and cularia. arc all sometimes employed, The wisUria. willow, plum, controls the selection of material for the other parts of the design. repeated or echoed in some of nandina, and certain other growths, must, if used in the Shin, be for such repetitions. Mostly difierent species of the same genus arc preferred the secondary lines.

II

FLOWHRS OF JAPAN.
for

If.

example, the mountain

is

willow

{Satix pavi/oria)
tlie

forms

tlic

Rhiii,

the

river

purpurea)

placed at some otiier point in

design.

When
with
for
it.

the wistaria

is

used, an old
tliici;

stump

of

some

liardy tree

must be placed
mployed

In all
it

cases wlicrc
is

branches of scmi-dccaycd or lichen-covered trees

heigiit,

the Shiu,

much reduced

in

otherwise

it

has a top-heavy appearance.

A
in

perfect verticality of
this
it

tlie

Shin

is

only maintained

in

the most

correct designs.

In

tl

ks5 formal arrangements

member
is

the roughest styles that

is more or less bent over to one side. It is, however, onlv allowed to project beyond the edge of the flower vessel and

in free

arrangemcnls considerable

care

is

devoted

to

the

powerful and vigorous posing of

this

which must never appear weak or unstable. No lateral curvature must occur u tl reaches a point a few inches above the surface of the water from which it springs. The ^hin s the first member of a floral group to be fi.ved. and its effect must be carefully studied^.cfore proceeding to attach other branches.
it

central feature,

The
derives
its

SErsiHN'

is

placed centrally

in

the composition, just below the

It
is

name

of auxiliary or small Shin.

,

Shin from whence

it

-omctimes arranged sometimes arrino^d

,

.he stem or ihe c/ the sK-m r,r II,. Shu,, an,! the Scishin maintains
,

is

therefore called the 5/-concealer.

en as * i -j so -^ to hide a portion of

In cases
.

when

the Shiu

\.

its

vprtir.Tliti- T,wt ^'"'

"'"*

X.
i~

;;

;'. *~"," ""

" -' ' " '~ -

,v,,,i.^ *i, '"^'^'^' *'^^

h . ot-'nt,

""'"Mine

i-

of the composition.

."
Thcoreticill,<;i,

^^"~r /--:>- Tz-:-:~z

young pn,e be selected
or
,r

growth must be preserved between these tivo member*

for

the S,,,, the

W>,

a plant be chosen for the former, the latter

sbonid be a
,

'

'

ij

,.

'

sprr^

must be a plant of somewhat similar character.

latcrallv
in n

some

t". '"""

''''"''

The SOVE
called
central

is

the highest

member placed
o

the

71,y,.fr,
like a

meaning

A,.wJ
S/,i
(if

"mpos.t.on.
''"'

Anciently

it

was

member

three

branch weighted with siiow

the

mches below the bend of the

in

or^dX"
,

1,,!''

to the portion of the 5/V,

u
^"'^'

" --I
-Iccted

above the iunct on the most correct designs,

Itt^^'"

"'

"'
'"

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

"

'"=

-''^ "' ""=

or soft and pliant

for

""""'

'""-'"
'"

-* *=

'"'S'"

^".

.Us
''

fo

but

if,

he oth
o

the S.,.

.^

/
"

''""*'
''

"-'

"'""

-^

- - -. ^^:~:^rz
the
f

The sane kind

""
!:,

eo

"'" '"= ^'>" ^'''' """' ="*' """=* -'

"=

:r
artificial

"'""

'^'"'-'-

Following the above principles

contrasting i,h
i.

i eharacter

is

cLse'n
is

"

possible.

Much

/ rTe'Jr""'
,

manipulation

apt

""' "'""''

"

^fZ'' ^

eak and

T"

'''"'''' ''""

""^ "'*

=>

""-I'
>=^ibuki

elTect.

The

r
APPENDIX.
Ill
'
.

.ind
.,

f.

'y
,

'"""I'''

f"

*'!i

, light,
,

arc of powerful line

,t

follows

,
l,a.

The r.iiihn..r "'"""'"'

scl,

^ whe
hang

Purpose as ,u sprays arch sideways, aJ. tliougl, tl,i , r ii_ ' .1, '" i'V l'"g of more or less arcld character,
,l,e

plants. faee

as the
:

chry,atl,om,, l,avis heavy blossoms are sed,

flowers tend to

employed
tion.

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
to

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

is

and

left.

The Soy.

is

generally placed on what

called the right side of the

S/,i,i.

appearina on the

left

side of the illustration.

The UKE
opposite to the

serves as the

principal,

though

not

the

highest

lateral,

member on

tile

side

Scj,,.

Whereas
in
is

the Soj,.

is
it.

supposed to contrast with the S/w,. the

It follows,

Wv,

on the

contrary, should accord

character with
large

therefore, that tlK

OTr

contrasts with the

nature.

Scjc
straight,
latter

When
and

the

S/iiii

and heavy, the Uiv should

for

also have
also,
if

similar

A
St,,:

stilT.

powerfull Soj:c calls

a bent

and pliant OTe;

the former be len.i!thy, the

should be comparatively short.

The

position of the

Mv

is

somewhat loner than the

and

the

two must never he exactly

opposite: with a bent

S/iiii,

the [/tv should spring from a point half

S/iiii.

way between
used
for this

the top of the vase and the divergence of the

S/tia.

and

it

should curve

ill

a direction

contrary to the curve of the

Some growth
be a

contrasting with the material of the Scye must be

member.

If the

latter

sprig of willow,

a branch

of plum

may

be selected

for

the f/iv.
is

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

called the

Eko-m-ala or
is

Tninuk.-iio-eitit,

according as the
of the

ritual

is

Duddhist or Shinto.

In such
floral

cases, this branch

made

to point

in

the direction

relic or

image before which the

design

is

placed.

The MiKosHI
intelligibly

is

the

fourth

line of the

composition.
is

The name

is

diflicult to translate

by any single word.

in

The meaning
mind

"seen beyond." and

the

term

is

frequently
hill

applied to objects
the limit of the

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

or at

horizon.

Hearing

in

that a

Rii-iii'tr

composition
in

is

supposed to represent a
prospect.

landscape,

the
is

Mikoshi branch

m.ay be taken
for this

as

some form

the
of

far-ofl"

On
It

this

account

it

necessary to .avoid using

the desired

member branches
an
being especialh-

young

trees, or tall

plants, as

tlicy destroy

perspective effect, and produce

impression of pro.\imity.
the
cnns.irl

has

its

proper relation
described Later,

to other lines in

the design,
in

of the Mfiyeot:i, to be

with which

it

should .agree
it

character ^oft
with the

.,i

ri-id.

str.iight

or ci-o-iked, light or
it

heavy.

On

the other

hand,

should

contrast

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

uo.r which
is

is

placed.

The

Milcaslu generally springs

from a point below the origin of the Sinliiu,

of considerable length,

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

in the direction of the

Uh.
it is

terminates sometimes above and sometimes below the

to the

level of the
is

Seishin.

Occasionally

called the guardian

back of the

SUiii.

because

it

the most important of those branches

which spring form the back of the composition.

The NACAsm
in

is

the

lowest

lateral

branch

in

a composition.
little at

It

spreads to one side

a sweeping form, arching, dipping, and again

rising a

the

extremity.

Ihe end must

IV
never droop, and
it

FLOWERS OF JAPAN.
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.
of the composition, and the longest of the

loner members.

Being placed on the same side as the

Ukt,

it

is

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

The

two should

differ in

kind of material.
it

In rare cases the Nagaslu occupies the opposite side

to

together with

tile

Soyt, and then

is

made

contrast with the latter, instead of with the Vkc.

Any

growth adapted to the

long sweeping form

this

required
is

may
'"

be used

for

the

N,ig;<ts/n.

In

arrangements of pine branches

particular line

called the

incense-burner branch," or the

censer
wjiich

"smoke
occasions

receiver,"
is

names having

reference to the

low ornamental

on ccrcmoiiial

placed on one side of the vase of flowers.

TIic

MyWEOKI
r.ither

occupies a front position

that of a line.

low down

in

the design,

and has

the nature

of a

bunch

than

Formerly, the term included the Do^iihiri (now a distinct

member), making only seven radical parts, inclusive of the Shin.

material with a tendency to spread forward must be selected.
It

For the Mayeoki, short bunchy

should not, however, be of too leafy

narcissus, magnolia,

a nature.

The Rhodea japomca

in

is

often

employed.

The

iris,

and cypress,

though frequenty used

other parts of a

Rikhva .nrrangement, are not considered

suitable for the

AfityeoK and the funkia and nupliar

character of this member, which

arc absolutely prohibited because wanting in rigidity.

The

may

be likened to the

bow

or rosette binding together the base of

the floral group, varies more than

tion.

any other, according

to the

rough or finished style of composi-

In the most formal style

it
it

cither side.

should be quite central and jut forward without any bend on

projects forward
is

lateral
it

bend as

allowed

in

the Gio style, and

in

the So

or

sketchiest treatment,
in

may

be quite irregular, even bending

line, the

a composition having a bent central

lelt,

away from the spectator. Arranged ihy^ki must conform in character with the Do:h,ri.

and forward, and creating in combination with the latter member, a hollow Flowers and leaves of attractive shape and colour are employed to produce a Ordinary rules, however, require the May.oki to contrast with the A..-W.If the one is soft or delicate, the other should be rigid or coarse in nature. Much stress is laid upon the importance of skilfully arranging the ,ki, which binds the whole mass together If clumsily placed, the whole design lose, unity and repose. It must on no account hide the mouth
called

spreading right,

the grotto.

bower-like appearance.

of the

flower

%Mse.

Its

function lunction

is often IS oft,.,,

r, inii Ailflllcd

by large
i

persimmon

caves, as

those of the

tree,
.

,,
lot to

which are then subject to nil '" "" '

.

mk

or

il,.

be mixed in the same bT 1 : composition.

7."";""'^"' =-"-'-

""=

. i, '""'"te

, rules regarding the use of

Oba

(large
m.rst

"f

"^"-'
The

-faces,

,,rn.

Different kinds of

Oba

pine, rhodea,

and

tree ^hyeol:!.

pteris, are

sumcLuiies cauea sometimes called

inc the

The Do^UKUlll, as
distinct
in

stated

hier

t:,^,.. times.

i. It in ,11

occupies
rr.rm form.
:<.

Gener.i

y round and

full

It

above, was ori.>inallv on,- will, ,i originally one with the jr ,. Uayiski, and only became a central position, assisting ,o give fullness to the mass luuncss mass. ^ . ,s nevertheless adapted to the character of the complete com.

AFPEXDIX.
position, serving

V
quality.

to correct
leafy, the

or tone

down any predominating

be somewhat bare.

Thus, should

tlic

design

appear

full

and

Dcsukiiri must

Flowers alone or merely bunches

is

of leaves

may

be

employed.

Dozulmri consisting of red blossoms

often

added

to a

floral

arrangement of white flowers.

It slioidd

never screen or hide the water in the vase.

The HiKAVE

is

an extra branch seldom introduced

in the
it

in
it

the most correct and formal designs.

is

When
Soy^,

used, as

is

sometimes the case

rougher styles,

added on the same

side
A'tyr,

as

the
its

and below

it.

To

prevent monotony

must be either longer or shorter than the

and

distance from the latter depends upon the shape of space or opening which the eye finds dcsir.ible.

For the trained

artist

concerns himself as much with the forms of the spaces or hollows

in
ol

composition as with the lines and masses, just as the skilled caligraphist studies the hollows

an

ideograph rather than the touches by which

it

is

constructed.

The Hikaye
floral

should never be on the

same
it

level as the

Nagtahi, which occupies the opposite side of the

in

arrangement, nor sliould

resemble the latter

shape.

The above members may be

finishing

said figuratively to represent the

it,

skclelon,

flesh,

and simple For these

clothing of a Rikinva composition, but, to complete

touches, as

other embellishments arc required.

of perfection

well

as

for

certain

qualities

aimed

at.

there

are

numerous
all

kchnical

terms, which
It

have rather an abstract than a concrete significance, and need not

liis

he

enumerated here.
in

has always been the Japanese art professor's practice to envelope

of

teaching

mystery by the employment

an immense nomenclature.

Anciently

all

additions

of foliage or flowers to

compositions,

beyond the seven members

for gloss or polish is

already described, were called ashirac, or decoration.

ill

The Japanese word

the whole.

used

a similar sense, having reference to the attachment of blossoms or leafy material

lines in
in

to sparse

and
be

scraggy
applied

order to give

body and beauty

to

Or, such extra material

in the

may

a corrective manner to remove monotony or tone down any defects

will

design.
I'tncc-

Should the bouquet appear too close and heavy, thin and open growth

be added.

work

is

another favourite expression denoting the

filling

in of

floral

composition with secondary

material in such a
before a screen,
this treatment,
stiiifull

way

as to

show up

its

principal features, just as an

.1

ornament may be displayed

is

or garden objects against

fence.

An

inexperienced hand
in

liable to

overdo
but a
will

feeling dissati.sfied with simple masses

and openings

parts of his design;

designer knows the value of breadth

Faice<vorlni.iy

and space, and by

to the

their judicious

combination

c.vpress scenery effects.

be .ipplied

back or

front of a composition.
tlie

In

the

former case,

it

generally consists of a few plants placed close to

central

stem

of the

Shin

and behind the Dosiikuri.

left

Applied to the
in front of the

front,

it

consists of material added to the right and

of the Dozukiiri,

and

Uke and Hikaye.

The terms ValUy and Grotlo arc used in reference to certain hollows purposely left The Valley between the foliage of a design, and intended to be suggestive of landscape effects. is produced by a skilfull is generally situated behind the Dojiikuri, and in front of the Sft's/ti/i, and
arrangement of foliage or flowers so as to convey the idea of a sliady scene.

The

Grolto occupies

FLOWERS OF JAPAN.
.

pla

'.

between

over a cavity.

Naffashi and MayeoU, and ; given Much

tl.e

is
.

formed by arranging leaves or blossoms arching

wlip
i

called the

Mizugh

IVaUi-liiitit,

^
it

with special reference lo term applied to the base ots-Rikkiva arrangement to This springing should always be firm and united, springs from the base.
of vitality and growth, and
distance above.
the bending of different branches
stilt

manner
from

in

which

vey the appearance

some

little

This straight connection or

in

which exists below the

bee;

re of the various

members,

is

made higher

Summer

than

in

Winter compositions,

the

former

it

is

considered refreshing to display as distinctly as possible the water in the

Three modes of arranging the Mhiigiwa arc practiced.

the principal

In the
;

first,

the united steins

of

members of

the composition are left bare at the base

in the

second, a small amount

is

of plant
possible
therefore

or tree cuttings arc

added

and

in

the third treatment, the bottom

last

made

as

gay

as

by attaching leaves and

flowers.

The

method, though attractive

in

appearance and
affect

somewhat popular,

is

condemned by the best masters.

in

Some Rikktva arrangements

the employment of semi-decayed stumps and branches;

Misii^iiva, or base,
is free

such cases care must be taken that the

is

from decay, otherwise the idea of vitality and growth

first

lost.

In using

bamboo stems

the distance of the

knot abov'e the water

is

important for similar reasons.

The terms
of the

fki (power, or spirit)

and

l/isiiri (reflection)

are

frequently used

conjointly to

describe the force of line in one floral

member and
is

the reciprocal vigour required in another part

U-i.
in

composition.
the

A
is

powerful Shhi
called Uisiirt.

said to

have
fro

and a proper echo or balance of

application to the
floral art
its

this

character in

Uh

The word
the

its

has the
natural

meaning of natural harmony.

When

material

employed preserves

throughout

character, with no sign of artificial treatment, branches of straight fibre being used vertically, and branches naturally bent and sweeping disposed laterally, then the composition said to have fro.
i

Moreover,

if

there

is
it

perfect
is

concord

in character
is

and proportion between

I

tli

bouquet and the

receptacle in which

placed, the

same term

employed

signify the

harmony produced.

Rikhvii compositions maj be

broadly divided into two chsscs
tliosc

having a straight and those having i

bent
S/iin.

These two chsscs hive

each their these manners or degiccs

of
elaboration,

named
Plates

rcspcctixcly

S/iiN, Gio,

and

So.

\II

\III

XIV.,

illustrate the

Shin Gio ind So

S/nn
stjle

degrees of the

straight

The

first

and more formal arrange

is

inent (Plate XII.).

used at marriage

ceremonies.
to

It

was originally designed

utensils

go with the three sacred

a
Buddhist

of

altar the

pair

of

candlesticks and

tht:

inct
c
:

of cuttings

arranged

in

tlic

Riklivn
tlie

style, generally

tied together,

and placed

in

base.

Plalcs
pal faults to

XV., XVI., and XVII.

in

illustrate the three

degrees of the bent Slmi

in the

style.

The
in

princi-

be guarded against

arranging flowers

RilkuMi style arc shown

B,

a figured
in

diagram of Plate XXI.

a
liiR:

The

errors illustrated arc as follow

: A.
;

Two

blossoms of the same kind

;

C, two lateral branches of the

same length

side
;

by side

D, cross formed by two branches

E,

a branch drooping from the water line over the vase

F. a branch or spray coming forward exactly

;

cciUr.iUy

G, a large blossom close to the water surface

H, a branch from behind bending round

its

to tlie front;

K, placing other material

just

below a blossom so as to hide

fine

natural leaves;

M,

using the flowers only of a plant which possesses

J,

leaves

L, a branch dipping into the water;

a branch twisting back towards the wall;

I,

one branch crossing another diagonally,

The RH-kwa Stump arrangements

floral

are illustrated in Plates

is

XVIII

compositions a low broad basin or bowl

ordinary
basin

used,

and instead
is

of the
into

stubble
to

fastening,

wooden framework

lit

the

hold
is

steady the heavy stubs and

branches

used.

This framework

afterwards to a great extent concealed

by the sand, pebbles, and water.

The Sand-bowl arrangements

by

of flowers, as these are sometimes called, are also controlled

theory

of

governing

Whereas

in the
i;

Shii

liana or Standing-vase arrangements, the tendency

the Sand-bowl arrangements,

the tendency

is

Iiorizc
ir

high becomes low, and the narrow broad.

style,

In the

one thick stump

is

employed

in

continuation

materials, (see Plate XVIII.).

Here we have a plum

branches, combined with pine, camellia, and narcissi

Plate

XIX.

illustrates

the

double stump

ngement
is

which

is

followed In the rougher style.

The

idea of sex

ap-

plied to such arrangements,

the stump to the right being called

In this

viaU. and that

to the left ftmalf.

irises,

composition various

kinds of pine,

reeds,

and bamboo grass are employed.

Plate

XX.

illustrates a

upon the ornamental shelves of a chamber.

Shin-no-hatia or
position.
irises,

comUncA Rikhioa and Sand-bowl arrangement, suitable for The upper arrangement is on the principle
is

placing
of the

erect

style, but

somewhat lowered and broadened out on account

is

of its

high
pine.

The lower arrangement

ferns.

in

the rough

Sand-bowl

style,

with dmiblc

stump of

bamboo, and

V,

FLOn-ERS OF JAPAN.

IKENOBO STYLH,
The n-embo
slyle

at flower
It is

arrangement

lias

of late

years

become somewhat popular

to

among amateurs
LXVI.
nt B

in

Japan.

the revival of an

ancient

method,

be traced

directly

to

modification of the original Rit-kim nyli, to which certain resemblances

is

may

be observed.
it

In Plate
to

shown an ntbtrn design with

in Plates

pine,

plum, and bamboo, which

is

interesting

compare nith the RiHivi, designs

XI. and XII.

The
composition as

Jkeboiio
in the

school,

however, dues
style,

not adopt

an abundance

of dilTcrent

material

in

one

Riklnva

but

limits itself

to the

combinition of two or three growths.

The most
compared
the
latter,

striking characteristic of this

to those of the to
.1

method

is

the close

Knshiu and other schools.

disappears,

and bunchy nature of the designs as The lineal character, which is so marked in
outline of the floral arrangements

great extent

though

the

produced

contains a suggestion of the radical lines.

The
A.

triangular

contour always predominates, and this

.\..

may

be

seeii

very distinctly

in

Plate

LXVI,

and c, Plate LXVIII.

and Plate LXIX.

li.

In

cflect,

the

arrangements of the

IMom

:lyU appeal

to the

European taste as more

however, equally subject

natural and less conventional than those

to elaborate rules

of the Enshiu style.

They

are,

not

LXVI.

to Plate

LXIX.

unlike those of the rival schools. The following illustrations from Plate give examples of Itcmio arrangements, in vases, baskets, and sand-basins.

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iti'S

-7^floral nrt of Jirn.

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TUI OHTAKIU COLLEQE OF ART