as Sti nine Seg aR a Salem is mM A & 3 oo & ® ~ & Is B ds UOTE Seas fae ’ ; u ‘ j ‘ 4 , : | ofr ut Aas } ’ gt - Ay fj “o> A THE FLOWER ART OF JAPAN of } THE FLOWER ART OF JAPAN BY MARY AVERILL (KWASHINSAT KIYOKUME)I) ,. AUTHOR OF ‘* JAPANESE FLOWER ARRANGEMENT ”’ " WITH 129 ILLUSTRATIONS NEW YORK: JOHN LANE COMPANY LONDON: JOHN LANE, THE BODLEY HEAD MCMXV COPYRIGHT, 1915 BY JOHN LANE COMPANY THE:*PLIMPTON:PRESS NORWOOD:MASS°U°S°A Hee Bigs *©oa414949 “y— y \' Po. INTRODUCTION INCE the friendly greeting of “Japan- ese Flower Arrangement” I feel justi- fied in supplementing and completing the subject. In the first treatment of an art so little known, one hardly dares venture beyond the rudiments. Now, however, being assured that there are those as interested as myself, I shall endeavor to carry them farther in this delightful study, only wishing that it were possible to create a stronger desire on the part of my readers to apply these Japanese ideas practically. For gradually we discover by the constant study of our flower arranging that we are beautifying all that touches our lives. The difficult problem of elimmation becomes simplified and we find our possessions in the way of household belongings placing them- [7] INTRODUCTION selves more attractively as the final result of closer application to this art. With each return to Japan, I have longed to become a convert to one school of flower arrangement in particular. Still the deeper I probe into the numerous schools I find it utterly impossible to advocate any one school exclusively. There is good and valuable in- formation to be found in them all. The various schools of flower arrangement are like the different creeds of the Christian religion: agreeing in the essentials and only disagreeing in the non-essentials; the points of difference creating the possibility to form new schools. On occasions I have found myself narrowing down to the research of one school, when suddenly I have had my attention called to some principle or suggestion from another school, so practical and valuable in enhancing the beauty of the arranging of cut flowers, that in spite of the assurance of the many mas- ters at whose feet it has been my privilege to sit, that their particular school contains all the virtues, I cannot honestly agree with them. I have narrowed down after many [8] INTRODUCTION years of study on each school, to a very small number of schools, but, should I attempt to settle upon one only I would defeat my purpose and pleasure of bringing to the people of my own land the best and most helpful suggestions in this Japanese Flower Art. All the schools can be divided under two heads: those producing wonderful decorative effects, and those which exhibit natural taste. The two schools which follow nature most closely are Ikenobu and Ko-Shin-Ryu. It is to these two schools I owe my greatest inspiration. Both of these schools look upon nature as the most helpful guide in forming their rules and producing their most pleas- ing results. Ikenobu has enjoyed, and I feel deservingly, unbroken popularity from 700 A.D. to the present time. Whereas Koshin Ryu has lost m favor, there bemg only one Master of that school now in Kyoto, while there are forty teachers in the Ikenobu school. Although this Koshm Ryu Master is remarkably skilful, he has few followers, Ikenobu being the most flourishing school of the present day in both Tokio and Lo] INTRODUCTION Kyoto. Koshi Ryu is no longer taught in the Gmkaku-ji where it origmated, yet Ikenobu still is being taught at the Rokakudo. Having studied Ko-Shm-Ryu longer than any other school, I have always felt a pride in knowing it origmated m the Gmkaku-ji so loved by Yoshimasa, Japan’s most famous patron of art. I regret keenly that mstruction has been discontinued in this most interestmg temple. Yoshimasa built Gmkaku-ji as a place of retirement after abdicating the throne, ac- companied there by his two favorites, Soami and Shuko, and by this famous trio Flower Arrangement and the Tea Ceremony were raised to the rank of fine arts. It was my great privilege to visit this temple last summer with the Ko-Shin-Ryu Master before men- tioned, and sit with him inside the enclosure which holds Yoshimasa’s image, while he made a very beautiful flower arrangement, which was left as an offermg m front of this simple wooden figure. Exhibitions of Flower Arrangement are held frequently, much as the exhibitions of paint- [10] INTRODUCTION ings are given m this country. On these occasions all schools are represented. In my Jast visit to Japan I found that each school had developed a new school, known as Mori- bana, a modern departure from true Japanese principles and an attempt to follow European and American styles, which is anything but pleasing. Any Japanese now taking flower lessons Jearns with the Japanese methods the foreign style, the result beng more careless and less beautiful effects m his Japanese ar- rangements and nothing worth while in foreign style. This, of course, is due to the progress of Western civilization, as the people of Japan are at present adjusting their lives, manners, and customs to those of Western peoples. Yet the fact remains now, as centuries ago, that no other nation so genuinely loves flowers. What I saw only a few months ago in Kyoto proved this to be true. Walking one morning, I met a Japanese pulling a cart heavily laden. I saw him look intently at a sluggish stream by the roadside. On a most unattractive pile of refuse was [ir] INTRODUCTION lodged a spray of flowers. His cart was loaded in such a manner that he could not merely drop the shafts, but was obliged to brace them in a cleft in some rocks on the other side of the road. He then took a long stick and fished out the flowers, but, as he reached over to take them m his hand, the petals all fluttered back mmto the stream. He simply laughed and tossed the twig after the flowers. | This man was the lowest type and accus- tomed to the hardest labor, yet even to him the beauty of flowers appealed. Is it strange, therefore, that we look to the Japanese nation for a perfect arrangement of the flowers they so truly appreciate? [ 12 ] CONTENTS INTRODUCTION . CHOICE OF FLOWERS RuLes in RuyMe AR ea Forminc Menta Line Picrures . PRaAcTICAL SUGGESTIONS ONE-FLOWER ARRANGEMENTS SHORT-STEM FLOWERS . HANGING AND Hookep ARRANGEMENTS Boat ARRANGEMENTS . Bah AAS New AND Otp Forms oF Flower HoLpers. ARRANGEMENTS IN SHALLOW VASES IMPORTANCE OF BRANCHES Proper Use oF Fouiace. PrRopER PLAcING OF FLOWERS FLOWER PLacinG IN JAPAN . ComBINING DIFFERENT VARIETIES OF FLOWERS. FLoweErs IN BASKETs . FLOWER PRESERVATIVES Proper Use oF VAsEs FLOWER CEREMONY. Rin aa SYMBOLISM IN FLOWER ARRANGING . 105 109 129 I41 147 157 167 181 193 197 201 209 23] LIST OF ILLUSTRATIONS Ceremonial Arrangement. . . . . . . . Frontispiece PAGE Arrangement Made from Left-over Flowers 21 Summer Poem 7 kes ae a 29 Autumn Poem . 31 Winter Poem 33 Diagram 1 . 38 Three-spray Peony Arrangement 39 Diagram 2 . 40 Three-spray Camellia Arrangement | 41 Diagram 3 . 42 Arrangement with Unusually Curved Branch 43 Diagram of Nine Lines oars 46 Diagram 4 : 48 Grasses and Oak Leaves . 49 Diagram 5 50 Five Branches of Magnolia SI Diagram 6 52 Poppies 53 Diagram 7 54 Small Peonies ‘ i One-flower Arrangement : 58 One-flower Arrangement of One Tris 61 Memory Arrangement . 63 Memory Arrangement Made with One Camellia . 65 Early Spring Flowers . 69 Gift Flowers Hung High . 73 Reeds and Chrysanthemums i in Hooked Vase 77 Wistaria in Hooked Vase . \ 79 A Rebellious Branch Brought into Balance . 81 Line Pictures of Ships Home-bound, Anchored, and Out- ward-bound . . 87 Line Pictures of Ships Stop ing, ‘with Cargo, and Becalmed 89 Line Pictures of Ships, Swit -Sailing, Sailing, and Coasting I Star Viewing Boat . Gas Anchored Boat with Ashirai in n Shovel Used d for or Bailing Saige es: Home Bound Shi ANTS) ines LOT, Outward Bound Sham 99 101 Vase Representing J ane Sail and the Branches for Masts [15] LIST OF ILLUSTRATIONS Sitting Boat Diagram of Iris and Stones Iris and Stones . Diagram of Lotus Arrangement . Lotus Arrangement . Suggestion for Grouping Lilies Maple in Shallow Vase Water Diving Plum Willow with Ashirai : f A Variety of Pine Growing only near Water . Omoto and Stones. . : Branch of Old Cherry with New Shoots Wind-swept Branch . Plum Branch Dead Tree and Passion Vine . Offering for Shinto Temple : : Hanging and Standard Arrangements : Standing and Water-growing Groups Relative Heights of Hanging and Water-growing Arrange- ments. Vine and Water- rowing Arrangements Tokonoma with Shelves and Ornaments Quaintly Shaped Flower Stands Screen-shaped Frames . Tokonoma with Hanging Vase and Bon-Seki . Plum, Pine, and Bamboo : A Spring Combination of Pine and Narcissus _ Pine and Chrysanthemums ; Five Varieties of Flowers . Several Autumn Flowers in One Group Maple, Autumn Grass, and Chrysanthemums Basket without Handle 4 : Hanging Basket : Basket Placed on Dai . Basket Improved by Use of Small Dai Basket Unusually Turned Tokonoma with Empty Vase Ready for Flower Ceremony . Tools Removed from Tray and Kakimono Ghanec Sho-Chiku-Bai .. Bashi Es icles an eet Symbolical Arrangement Eat yciet rigs Uke ee asta bod THE FLOWER ART OF JAPAN THE FLOWER ART OF JAPAN CHAPTER ONE CHOICE OF FLOWERS HE choosing of flowers to be arranged is as important as the manner in which you are to group them. When it is possible to select from one’s own garden, realizing where the flow- ers are to be placed before gathering, the grouping in a vase afterwards will be very rapid and satisfactory. The novice in this Japanese system will, I think, be amazed to find how frequently the lines which were described in “Japanese Flower Arrange- ment’? as Heaven, Man, and Earth are found to be natural in trees and flowers, so that no bending or changing of Iine will be necessary. [19 ] THE FLOWER ART OF JAPAN The more trained im Iine the eye be- comes, the quicker is material selected and put into place with just a Iittle balancing and cutting off conflicting or defective parts. This eye-traming m Ime is most important and it is according to the degree to which this faculty is developed that we owe the result In any arrangement. Line, in flower arranging, as in all other branches of Japanese art, has reached the highest development. What can be sug- gested by a few powerful lines, all those familiar with Chmese and Japanese art thoroughly appreciate. If possible study the lines of the com- plete growmg plant before attempting to arrange any part of it, never forgetting that nature is your best guide and master. | If it is the branch of a tree to be used, have the leaves very small, just unfolding, and if a flower, in the tightest bud, just revealmg the color which the flower ts to be. Trees and flowers arranged before they have reached full development will last [ 20 ] ae y Na iS Arrangement Made from Left-over Flowers RE SB | Sst CHOICE OF FLOWERS for days and the unfolding of leaves and flowers at home can be enjoyed as genuinely as the growing plant or tree from which they were taken. Be sure to cut the flowers long enough to allow for bending which naturally shortens the stems more than at first is realized. Try to utilize the shorter flowers or twigs that were cut off from your orig- inal arrangement. These can be used in a vase of smaller proportion where long stems will not be necessary. The Japanese delight in these after- results, which they call memory arrange- ments or reflections. | When gathering flowers to work with, consider where they are to be placed, if high or low, the color of the background, and when possible, the shape and color of the vase. Remember that you can manage with a very few flowers, only one or a bud, but you must have an abundance of foliage to make a natural and satisfactory result. [23 |] THE FLOWER ART OF JAPAN Try to form a complete composition in your mind before attempting to make any arrangement. What is meant by this will be explained more clearly by the Ime pictures in a later chapter. [ 24 ] CHAPTER TWO RULES IN RHYME OST of the fundamental ideas in Flower Arrangement have been ex- pressed in verse. The first flower composition made by Ikenobu, the priest, who started the school now bearing his name, was formed from azaleas and maple, which after gathermg are put together in such a manner that the scenery of Kamo- no-dan Kyoto was represented. From this arrangement he evolved nmeteen principles, which are the origin of the present Ikenobu School, never more than nineteen flowers being used in that style. About this period a poem was written: Tye no uchi ni Miyako no nishiki Kaki masete Hana mo, momiji mo Hitotsu nizo, miru. etd THE FLOWER ART OF JAPAN By a well thought-out arrangement of flowers or trees it is possible to bring into a small space in a room all the charm of some exquisite bit of natural scenery. These poems, difficult to translate, convey a clearer impression when left im literal prose. The poem just quoted carries in a few words the whole substance of the art of flower arranging. Namely, that by a good arrangement of a few well-chosen flowers, a large and beautiful place may be suggested. _ Another poem gives the three main principles and what they symbolize. This poem is always committed to memory by the students of flower arranging: Sasu kame no Hana no suga tamo Onozu kara Amatsu chiba to no Kokoro yori naru. The poem states: Give your flowers only natural bends. It likens the central prin- [ 26 | RULES IN RHYME ciple of Heaven or heart centre, to the heart or spirit of man. This part being his governing centre creates his thought actions and forms his principles. So like- wise the central spray in a flower ar- ranging shows by its lines the natural characteristics of the flower or plant used, and controls the shapes of all the other elements of the group. Then follow four poems to the different seasons, and it will be remembered that the season of the year has a great influence over the lines and quantity of flowers used. SPRING PoEM Toki wa naru Matsu no mido ti mo Haru kure ba Ima hitoshi wo no Ito masare keri Even the pine, an evergreen, which is supposed to be the same all the year through, becomes more energetic and a Beet THE FLOWER ART OF JAPAN superior color in the spring than at any other season. So must spring flower ar- rangements show great energy of Ime and brilliancy of color. SUMMER PoEM Natsu yama no Shigert masareba Kogakurete Atutomo mienu Okanobe no kusa. The beautiful moss on the rocks is entirely obscured by the dense summer foliage of the trees upon the mountain. From this has been worked out the sys- tem of summer arrangements. Involved to us It may appear, but to the Japanese it is full of suggestiveness. It conveys the idea that all summer ar- rangements should be full and spreading, like the trees upon the mountains cutting from view all the smaller beauties of rocks and moss. [ 28 ] a a a RULES IN RHYME AUTUMN PoEM Tokiwa naru, Aoba no Yama mo Aki kureba Kotobazo kaeru Samushi kari keru. At the end of summer all the mountains with their wealth of greens and beauty sigh quietly and alone for the passing season. Therefore the autumn arrangements should express loneliness and be simple and straight wm Iine. WINTER PoEM Haruka naru Ikoma no Yama mo Arawarete Kozueno fuji ni Kawaru Kono Kara. Mt. Ikoma begins to appear as the sign of winter, and takes the place of the beauty of the dying season. [35] THE FLOWER ART OF JAPAN As the Ieaves have fallen, it is now possible to see the lovely form of Mt. Ikoma, which is as beautiful m its way as the lost glory of the autumn. This gives the key to winter arrangements. In these groups the flowers must be arranged with wide spaces between their branches, so that whatever is back of them may be seen through the lines of the group: as mountains are revealed m winter through branches of dead trees. [ 36 J CHAPTER THREE FORMING MENTAL LINE PICTURES T will be found far easier to make an effective arrangement of flowers if you first see a composition and then work it out, as the following line diagrams will illustrate. Diagram Number One shows how this may be carried out. Although there are three sprays of peonies, the composition is expressed by only two strong lines. The third Ime or Earth spray is formed by one fully opened flower and a bud, but Is too indefinite to be depicted. Short sprays with confused lines are left entirely to the imagination as they do not in any way affect the general outline of the composition. The next three-line diagram shows the composition of three magnolia sprays. era A dntiy oe | \ Ati Three-spray Peony Arrangement Se} eno! Diagram 2 — ——=— ait ie el Three-spray Camellia Arrangement / Diagram 3 eee Arrangement with unusually Curved Branch THE FLOWER ART OF JAPAN Here each element of the group is strongly defined, as each principle has long and clear outlines. The third arrangement has been evolved around the unusual form of the branch of flowers used for the Man element, or second longest spray appearing at the left side. This is an interesting arrangement in that it expresses the Japanese aptitude for using the uncommon form whenever it appears. It takes considerable experience to work these freak-forms of nature into well balanced groups, so that this particular illustration should be found very helpful. As line is the most important factor in the Japanese Flower Art, it will be found that the lime pictures without the con- fusion of flowers and foliage are very helpful, and excellent practise for the actual working out of any flower composition. L 44 ] Heaven Man Earth P< DWE SIS Ie SSS 54/ Ne 4 4 To —~ |e | Diagram of Nine Lines — ee CHAPTER FOUR PRACTICAL SUGGESTIONS N explaining the first principles of the flower art of Japan, using only three or five sprays of flowers, it was easy to demonstrate with an illustration of a complete arrangement. In the more advanced work that would be impossible, and I have endeavored by the aid of the line pictures in the previous chapters, and now, in taking each flower of the group separately to make clear the putting together of a complicated arrange- ment. It is with the hope that all who are truly interested may be able to make with- out difficulty an arrangement of any num- ber or variety of flowers by the aid of these suggestions. On the opposite page is a nine line diagram which may be used for any variety of flowers in standard vases, as the three and five line were used before. [47 ] Diagram 4. This Arrangement is put together according to the way it is numbered ig” UA Way Ny \ Grasses and Oak Leaves Diagram 5. Put together as numbered Five Branches of Magnolia . Water Line Diagram 6. Put together as numbered KEM (HOH o mo A> of b \- ies rad AG Bl es of bo a SR AR as SS Ra arahy Poppies Diagram 7. Put together as Numbered > y } SZ 7 V7 i LAS Wy i Y BWlic Vil WA & \ eq aN Ney) Small Ponies THE FLOWER ART OF JAPAN In making similar arrangements to any of these described, it will be seen by fol- lowing the numbers that im every instance the Heaven, or highest flower, takes a cen- tral position. That the different Man ele- ments are put into place first, next the Heaven, and last those sprays or flowers forming the Earth or lowest branches m the group. Do as much of the necessary bending required before puttmg your flowers mto the support. Should more changing of Ime be needed after the flowers are in the vase, hold the stems tightly together at the base with one hand, while with the other hand you rectify all mistakes. This pre- vents spoiling your parent stem or base Ime, here all branches or stems must unite and appear as one. - When possible, Jet your flowers stand in deep water for several hours before using them. Always have your kubari or support firmly placed in the vase before you commence to work. [ 56 | PRACTICAL SUGGESTIONS After the simple rules already given, all that is necessary to the acquiring of perfect success in the most elaborate arrangements Is practise. ‘rae One-flower Arrangement i CHAPTER FIVE ONE-FLOWER ARRANGEMENTS HE one-flower arrangements, or “ichirm ike,” are made in two ways. Either by starting with the idea of enhancing the exceptional beauty of a single flower by arranging it alone, or owing to a lack of material, having perhaps only one flower, a bud, or a few leaves left from an elaborate decoration. If the latter is the case, it must m some way suggest the fuller arrangement, forming what is known as a reflection or memory composition. In such groups late blooming flowers called Zanka are used. A single bud is even better than a full blown flower, and leaves alone may be used. Any variety of flowers are suitable in an ordinary one-flower arrangement. L 59 J THE FLOWER ART OF JAPAN In Japan, flowers arranged in this man- ner are often placed on the lower shelf of a stand, as the illustrations show. Such arrangements are generally standard, but occasionally one flower is placed m a hang- ing vase. The rules for the arrangements just described are not as rigid as m the fuller groups. Frequently it is not even possible to suggest the three simple prin- ciples of Heaven, Man, and Earth. Perfect balance by bringing the top of the longest spray directly over its base, and a desire to make the most of the beauty of the flower, is all that is required. [ 60 ] One-flower Arrangement of one Iris eo BS 4) BPRapHy SAU Uy . eo UA LOSS oe Os Hg si Memory Arrangement Memory Arrangement Made with one Camellia CHAPTER SIX SHORT-STEM FLOWERS “Sanding flowers not bemg as decorative as long-stem ones are seldom used. With the early spring varieties no at- tempt is made to bring them into the groups so common with other flowers. They are not cut from the plant, but are taken up root and all with whatever grass or weeds are growing near to them, and placed with the earth in which they grew into low bowls. The principal reason we see so few such arrangements in Japanese homes is owing to the fact that this method of treatment consumes little time or thought. In the East it is considered a real privilege to devote any amount of time not only to the arranging of flowers but to any L 67 ] SHORT-STEM FLOWERS pastime which puts them im close touch with the beautiful m either art or nature. Japanese taste has always been stimulated by an earnest observation of the beauties of Nature; the Japanese watch with sensi- tive perception her constant changes of mood, until each detail of her handiwork becomes an imprint on his mind and readily transferred to any work he puts his hand to. It is the adherence to the _ rules which govern Nature that are so prominent throughout this art, that attract and hold you through an untiring research. [ 68 ] Early Spring Flowers , CHAPTER SEVEN HANGING AND HOOKED ARRANGEMENTS OR want of space in previous writing K on this subject, it was impossible to describe the real charm and prac- ticability of hanging arrangements, so I am glad of the opportunity now offered to show how well this style of arranging flowers is adapted to western interiors. Hung out of the danger of being dis- turbed, we feel reconciled to devoting more time to a proper placing of each flower. An unobstructed background which is in- dispensable to bring out the complete beauty of any flowers however arranged, is more readily found on a wall, by a win- dow, or at the side of a mantel than when placed on a table with ornaments. Vines may be kept growing m such vases when hooked in the good light of a window. Teastd THE FLOWER ART OF JAPAN In the following cuts are given the Ime pictures for these arrangements. Although the hanging vases are gen- erally used for vines, nearly all varieties of flowers may be used in these containers. Trees of all kids are used in this way. As a tree grows tall and above all other vegetation, it may be hung, which places it in a higher position than when standing. Baskets with handles, which are always available, will be found. very beautiful flower holders, even when the handle alone is used as shown by the cut on page 745; a vine of any kind may be twined about the handle. Bittersweet or morning glories are exquisite in this way. em wa ~) a) %% “ WY N ZN Gift Flowers Hung High HANGING AND HOOKED ARRANGEMENTS As this form of flower holders came into use in Japan with the idea that flowers presented by an esteemed friend should not j \3 eee a / ih IKKE Vine about handle of Arrangement of Morning basket Glories confined to han- dle of basket be placed where they could be looked down upon, they were raised and hung, this accounts for sometimes seeing flowers which would be naturally placed low or in stand- ing receptacles, hung. The illustration of chrysanthemums in an _ ordinary basket, bez] THE FLOWER ART OF JAPAN suspended by the handle, is a lovely ex- ample of an arrangement of gift flowers. Vines which are too weak to arrange i definite form and which would hang in Water Line Put together as numbered confused masses, should have a frame made of some slender twigs without foliage, which are bent or take the prescribed forms of Heaven, Man, and Earth. Morning glories, tis 70) al ——— Hooked Vase m Reeds and Chrysanthemums THE FLOWER ART OF JAPAN woodbine, etc., are always found clinging to something. Put together as numbered Thinking that by taking these hanging arrangements apart and then putting them together, as with the standard groups, it will make clearer how to accomplish what is here illustrated, the two following diagrams are given. : The reeds and chrysanthemums in the hooked vase are put in place according to the numbers in the diagram. In makmg an arrangement of wistaria similar to the one illustrated, it will be seen i781 SSA é) Sr . SX BESS IR . Si a (| ( Wistaria in Hooked Vase THE FLOWER ART OF JAPAN that two sprays alone form the three prin- cipals; the spray marked 2 and 3 answers for both Man and. Earth. By looking at the illustration of a hooked gourd shaped vase, in which camel- lias are placed, you will notice that the Ine of the long curved branch forming the Heaven is natural. The placing of such a branch m a hanging vase of irregular form makes it at once harmonious and attract- ive. It is by the use of such unusual forms that the Japanese bring the refresh- ment of variety into their floral decorations. Always keeping to the regular and symmetrical forms does not _ reproduce natural effects. [ 80 | A Rebellious Branch Brought into Balance CHAPTER EIGHT BOAT ARRANGEMENTS LTHOUGH the boat arrangements are usually included with hanging compositions, they really require more space to disclose their unusual beauty. Not being always hung, but at times used as standard arrangements are, they fill a position all their own that cannot afford to be overlooked. The object in giving this variety of hanging vases greater recognition is that they may be described in a manner that can be followed out in a practical way, and be as commonly used as standard and water-growing arrangements. As line pictures always afford clearer examples of any composition, they are given here. Realizing to the fullest extent that there are few in my own land who would L 83 J THE FLOWER ART OF JAPAN find time or inclination to arrange their flowers so that they represented the many phases of conditions attending ships, still I know there are those who would devote some time at least to bringing added charm and variety into our own rather circumscribed flower arranging. Boats Hung High convey the idea that the boat has come from a far-away port. In such arrangements the flowers are small, to show only as distant sails. Boats Hung Low represent a boat which has returned from a _ near-by port. In these arrangements the flowers are large and conspicuous, as the sails would appear on an approaching ship. The difference in arrangement in these boats is very slight i some instances. The quickest way of discerning the different styles is by noticing the position of the bow and stern; this is shown very plainly m the Ire Fune or homebound ship, which has its bow turned to the left, while the De Fune or outbound has the [ 34 ] BOAT ARRANGEMENTS bow to the right. Closer observation will show that the direction of Iines differs in every position; even the length of the chain or cord by which these boats are suspended is governed by the style used. The streamer, or Nagashi, is of great im- portance and is supposed to represent the rudder or the long oar with which the Japanese propel their boats, and which slopes back toward the stern as do these Iong streamers. The highest spray, represents the mast and the other lines indicate the sails whether flat or wind-filled. It must be remem- bered, however, that it is the junk and its movements that the boat arrangements represent. [85] Anchored at Sea sen eese’ eo ew ce ° Outward-Bound Line Pictures of Ships Home-bound, Anchored, and Outward-bound y, ‘ Ne coub oN iicirsa conan casiuecseses am f 5 y Stopping f \ A \ oe \ bare ‘i - sy . ae < Flower Cargo Becalmed Line Pictures of Ships Stopping, with Cargo, and Becalmed ° Szenerrey - me \ ben AS Ae a eo veree cow v A Swift-Sailing é ys At wy o " Sa Oe een em ew ec ee eeesese ow Sailing , ence ead Regia . \ s . Coasting Line Pictures of Ships Swift-sailing, Sailing, and Coasting Atty HASSAN He Tee S We Kite x oe q cai id al tol QU oa AS-- aay Star Viewing Boat Saainy jnfiapuofy asaq? Ayoinjou sppy pup DIS aq} ADIU AjUO sMOLD qorgm AjauDA DSi aug aq] “Suyiwg sof pasn jaaogg ut tosigsy qiim joog pasoqouy xf tr Ses Sh. - sf SE fe Z = O (eee SMALLS Home Bound Ship 4 | gees mS i ay +a, 2, SH Outward Bound Ship WF ae Vase Representing the Junk Sail and the Branches for Masts mo ps 0 Beh I Fe > Sitting Boat CHAPTER NINE NEW AND OLD FORMS OF FLOWER HOLDERS AVING had unusual opportunities H for collectng flower holders, and considerable practise in using them, there are several which were not before de- scribed that I should like to advocate. There is one in particular when no sticks are to be had large enough to make the usual forked kubari, that will be found very useful. This can be made from the ends of the stems of whatever flowers are being used. It is made as follows: Split the stem of the flower directly in half for at least five mches, cut from some flower not to be used several stems a trifle wider than the mouth of the vase, mto the slits already made imsert these shorter pieces of stem horizontally and place mn the vase as cut shows. In some imstances two or [ 105 ] THE FLOWER ART OF JAPAN three flowers may be placed over one horizontal stem. Split Stem Split Stem with Shows bow flower and stick inserted support are placed together in Vase There is an endless variety of forms which can be utilized for flower holders m flat bowls, as has been shown by the numerous new shapes which have appeared durmg the last few years. The frogs, crabs, and even fish do not appeal so strongly to the true nature lover as the holders which look like the rocks or stones that would naturally be found in river beds, [ ioe ] FORMS OF FLOWER HOLDERS and the forms of which are so varied and beautiful. Here is an ingenious device made from a section of bamboo fastened to a_ board; the board is held down by two stones, one on either end, and the stones alone appear above the water, hiding the holder. Then the little iron holders for one flower, or branches, which are merely hung over the edge of the neck of a vase. [sor J THE FLOWER ART OF JAPAN These are made in charming natural forms, as well as the simple rings. They come in many sizes so that they can be fitted to all styles of vases, are quickly adjusted, and invaluable in working out exquisite results. [ 108 ]. CHAPTER) TEN ARRANGEMENTS IN SHALLOW VASES S all those who are interested in A arranging flowers have discovered the charm of placing them in shal- low bowls, I feel confident that more sug- gestions from the Japanese will be valued. The first example in this style is shown by the group of iris. Each flower is drawn separately and numbered so that the ar- rangement can be easily made by simply placing the flowers in position as they are numbered. Any variety of flower placed in low vases may be treated as these iris have been. Numbers 1, 2, 3, 45, and 6 belong to the Man group, while 7, 8, and 9 belong to Earth and number 4 belongs to Heaven. The addition of stones at the roots is always attractive. L 109 J THE FLOWER ART OF JAPAN The second illustration in this chapter, of lotus, requires no further explanation, but will be a guide im makmg_ similar arrangements. The Japanese use trees also in low vases as the illustrations show, especially such trees as grow near the water, and maples, the color of which makes such enchanting reflections. In old books will be seen an illustration of a plum tree where one branch dips into the water of the vase and out again. This may become of greater interest when the legend of its origin is understood, for, as a rule, plums are not arranged in low vases. So Ho, the founder of the Enshiu School, going on a hunting expedition, saw a large plum tree, one branch of which bent mto the river below, the extreme end rising upward again, covered with blossoms. Being struck with the beauty of the effect, he at once applied the suggestion given by nature to an arrangement of plum erro: | ARRANGEMENTS IN SHALLOW VASES branches in a shallow water vessel in his own home. This arrangement is always known as the Water Diving Plum. The legend is given merely to show how many of the arrangements seeming unnatural to us have been evolved from natural forms in some such way as just described. ne. Diagram of Iris and Stones put together as Numbered palaquinyy sp 1aqja80) NM quawasuniiy snjoT fo wo.so1q 2 \\ oY) H Oe wr f bg SIN eae a Oy Ly LEGGY CO i i Lotus Arrangement. The Leaf is Held in Place by a Separate Holder Ue \) Suggestion for Grouping Lilies, Both Beautiful and Natural ee Sor | BSH x Cy fap wii y feet ji 16 UA i y's 4 "i e a xe 7X. a ? we \ 7 oe Maple in Sealine Vase MAR pe | S Water Diving Plum He. Willow with Ashirai An Wil, Bates) ON 7 Branch of old Cherry with New Shoots Arranged as Interpreted in this Chapter So Sey ye Bak HP USE Bahr S44 ~~ ae F ea YESS Fork ahr. Sl > BEY ¥z # Ax. ad OT ae g & Af ot mi & Sr Wind-swept Branch Plum Branch Dead Tree and Passion Vine CHAPTER TWELVE PROPER USE: OF FOLIAGE S the foliage m an arrangement is A considered of more importance than the flowers, no surprise will be ex- pressed at the care and thought given to their placing and turning. The Japanese mm preparing for a guest are very particular as to the turn of the leaves. If leaves alone are to be used, the dark side is turned toward the guest, while the light side faces the host. The fol- lowing cut of a camellia shows plainly the strong contrast in color between the front and back of leaves. A distinction is also made between leaves of a solid color and those which are striped, spotted, or variegated. Preference Is given to fresh green of a solid color; the variegated leaves are not used on ceremonial L141] THE FLOWER ART OF JAPAN occasions. White leaves are sought by poets, as to them they represent clouds, old age, etc. DYING OR LIVING IN FLOWERS OR LEAVES If leaves or petals turn back or change their color, or anything out of the natural happens, they are known as dead. As in this state they are frequently beautiful, they are sometimes used, but never ‘In im- portant parts of the group. All) natural conditions of leaves are called living and put in prominent places. Crown Leaves or leaves growing above the flower, as illustrated in the cut, which has two crown leaves, such are found oftener in water-growing flowers, as with the lotus and some lilies the flower rests on the surface of the water and the leaf rises tall above it. If leaves grow too long never cut with scissors; break or tear with the hand. This makes it appear like natural damage of the wind. [ 142] PROPER USE OF FOLIAGE There are three varieties of bamboo, the leaves of which are called Fish Tail (a), Gold Fish Tail (b), and Flying Goose (c). Leaves are also designated as dew or rain holding. A AR (c) In the spray followmg the leaves at the top are dew holders, while the large turned- over leaf at the Ieft shows it has been rained on. The smaller group by the droop of nearly all its leaves indicates a hard rain. L143 ] THE FLOWER ART OF JAPAN It is probably due to the fact that the Shintos do not use flowers but only leaves in their shrines that so much attention has been given to foliage. [ 144] ~ AR? : rt Ee aa BC Dh Pao Offering for Shinto Temple. Composed of Leaves and Peculiarly Cut Paper CHAPTER THIRTEEN PROPER PLACING OF FLOWERS HERE are so many different styles in which to arrange flowers, and such a variety of vases, that possibly the most helpful suggestion is that given by the old flower books, which advise the use of personal taste in adapting the style of the arrangement to the vase and the place where it is to be used. There are, however, a few other theories in regard to proper placing that should not be overlooked. What is known as Nagashi or a drooping style, is suitable for flowers placed on high stands and mantel shelves and in rooms with low ceilings. The flowers m a low-ceilinged room should not be upright and too high. One L 147 ] THE FLOWER ART OF JAPAN trial of drooping arrangements im old-fash- ioned rooms will prove how attractive they ate: Tall and upright groups should be placed on the eye level, bulbous and aquatic flowers below the eye level, while vines may be hung and at any height. [ 148 ] Hanging and Standard Arrangements ON XS | PEA zy nevis § Standing and Water-growing Groups Relative Heights of Hanging and Water-growing Arrangements Vine and Water-growing Arrangements CHAPTER FOURTEEN FLOWER PLACING IN JAPAN O those unfamiliar with the customs T of Japan, the way in which flowers are placed in their homes may be of interest. There are prescribed places in which the flowers may be arranged, and only in these spots; nothing haphazard is _per- missible. Built into every room is a place for flowers, and they are seldom put else- where. Occasionally hooked or hanging vases are hung where individual taste dictates, but generally flowers are placed on the floor or hung on one side of the tokonoma. Four arrangements in a room would be the maximum. In the houses of the well- to-do there is frequently a room set apart for flowers only. Here the walls are hung with beautiful kakimono or scroll pictures and beneath these are placed flower stands and vases. This room is kept constantly Erez THE FLOWER ART OF JAPAN filled with flowers. Each day the wilted ones are replaced by fresh arrangements. Here, also, the flower tools, stands, vases, and everything to be used im arranging the flowers are kept. The flower stands are as beautiful and varied in form as the vases; their lines all so well thought out that they enhance the beauty of whatever they hold. One of the illustrations shows how they vary in height, so that a long trailing spray may be raised into a natural position. Everything in connection with this Flower Art. emphasizes the important place flowers occupy in the every-day life of the Japanese. [ 158 | Tokonoma with Shelves and Ornaments HET iilad| t 4B 1] a Rte “RIM P He Dek Gdamk Quaintly Shaped Flower Stands iv ar} £5 a tel HASHES Screen-shaped Frames IN\h \\ yi y 1} a iW M 4 I Me Tokonoma with Hanging Vase and Bon-Seki CHAPTER FIFTEEN COMBINING DIFFERENT VARIETIES OF FLOWERS T is frequently asked, do the Japanese never use more than one variety of flower at a time? They combine their flowers as often as do other nations, and in fact, for such seasons as New Year, also on all congratulatory occasions, they always use two or more varieties in combination. The Sho Chiku Bai, which is the pine bamboo and plum together, is a favorite New Year’s decoration, and the illustration will show one of these arrangements. Wild flowers, both of the spring and autumn varieties, are placed together, in one vase, arranged as they grow, field flowers and grasses grouped together. Branches of trees with spring flowers at their roots, such as is illustrated by the pine and narcissus arrangement, are very L 167 J THE FLOWER ART OF JAPAN beautiful. While in the autumn, the use of chrysanthemums and other late blooming flowers, with tree branches, produce most charming results. In combinmg of colors, it is a well-known fact that the East Is more daring than the West. However, you will notice by the examples here given that the colors of the flowers used are very harmonious. You can see how the arrangement of brilliant maple leaves and yellow chrysan- themums are subdued and brought together by the autumn grasses which have turned to soft browns and yellows. This ts truly a wonderful group representing all the glory of autumn but prevented from being start- ling by the use of the grasses. ee i Na iN \ MW 4 —— -{ WS (EZ AA £7 Y- af. Plum, Pine, and Bamboo VA ENAUNEN VAN AA A. "ee ey, Y ye Kee J WaeD F 19 N IN A Spring Combination of Pine and Narcissus SK Za VES NVZ Wy KVA Pape Cy 7 Py) edb Ay a 2 Va 53 K PSS — a at et | als ie " Y VY b dyam al & IF a ay) PRY. ad aah IFES Sy ef —<——» COS SAY , ) a »> Se SN i wit We et ee 5 By » ye 3 Na we i? Ny WA « — Vy ——— ——— _—_—. —— Fy Pine and Chrysanthemums aly — Sy Y Ef Any =AUINSIS VY Hi ee le, 4 * ip age 2s. gf < Five Varieties of Flowers. Note the way the Morning Glory is twined about the Reed srt Roshan EHS 2 § Sy) oO, HE ARPES WS 7, FAN) 5 in iy i Several Autumn Flowers in One Group wy ) f= » Vi [y Maple, Autumn Grass, and Chrysanthemums CHAPTER SIXTEEN FLOWERS IN BASKETS | is often the case that whatever Is simple and easily procured is overlooked and seldom used. This apparently has been the fate of the many exquisitely beau- tiful forms of baskets made for flowers. There is scarcely a conceivable form which has not been made in this material. The Japanese have done more than their part, not only m the constant use m their own land, but they have also ex- ported them in large quantities here. No other vases but those of bronze can equal them for color. Although in most cases the flowers are not allowed to touch the handle of the basket because by that it is carried, and handling would mar their freshness, yet as previously described, in some instances [erer || THE FLOWER ART OF JAPAN vines are twined about the handle alone. They come, as the illustrations show, in standard, hanging, and are also fitted with tin and may be used for water-growing plants. They came to Japan from China and are one of the oldest forms of flower holders. These Chinese makers of these baskets sent one to Yoshima through one of his retainers, requesting that so unworthy a vase should be placed on an _ unusually beautiful stand to enhance the plamness of his gift. Yoshima was so charmed by its simple elegance, that he ordered it placed without stand or tray. This accounts for seeing baskets used so frequently without the usual stand. PNG (| ( Basket without Handle Hanging Basket LYN AY) ~ “ = ‘Ss is 3 6 ‘\ f a - | LDS <= : SS NN eK: Si 2) SS = = Nea SS DR ZN BC Aa SBSAAIS© = Basket Placed on Dai ee / ——_—S Ss / ——— This Basket Improved by the Use of Small Dai ENN yy A MUZE ye eX ATA KER QED = ; ioe : {4 UO PDrwrre WW? SST? Ss AN} WA, lt Nene ERG Gs Kee Y a e “es ceo) a : Cad anwN = Basket Unusually Turned CHAPTER SEVENTEEN FLOWER PRESERVATIVES UCH is done in Japan to make M the flowers remain fresh as long as possible after they have been arranged. After spending many months in learning what would best preserve each variety of flower, I came to the conclusion that most of the formulas given me could never be used in my own land, both for want of time and material. There are, however, a few simple aids which were not given before that are easy to apply and will perceptibly lengthen the life of flowers. First are given a few of the methods which seem too complicated to be employed by the pressed-for-time Westerner. L 193 J THE FLOWER ART OF JAPAN To PRESERVE Lotus This flower is very difficult and must be treated immediately after picking, or it cannot be preserved. In gathermg the flowers and leaves they must be cut under- neath the surface of the water. While arranging, the stems must be held all the time in water. When the proper length of the stems has been determined, the blossoms and leaves are protected by paper and the ends of the stems are put in boil- ing water until they become white; after this they are plunged mto cold water where they are left until the entire lencth’ of stems are cold. Next the kosho misu, or summer medicine, the formula of which is eiven below, is inserted by a pump into the stem of each leaf or flower separately, the flowers then bemg placed in cold water for three hours before the arrangement may be completed. A much simpler way of preserving lotus Is to cut the stems underneath the water, [ 194 ] FLOWER PRESERVATIVES and smear the end of each stem with sealing wax before exposing it to the air; wrap stems in paper to carry home. Noth- ing else is really required. SUMMER MEDICINE Water) sho!) tah) 3 pt. Mog’usa I go = Ig OZ. Sansho 1 shaku = teaspoon Boil together until only one quarter of liquid remains. After all this trouble, the flowers will last for an astonishingly long time and the leaves for fully a week. Other methods are more elaborate. All water-growing plants may be kept fresh longer, if a little salt is forced into the stems, and then they are stood in warm water until used. If the weather is very hot, Iet stand in lukewarm, very weak tea. Placing flowers in a weak solution of tea will make it possible to keep them for some time without being kept in water. The most valuable aid in keeping the L 195 J THE FLOWER ART OF JAPAN flowering fruit branches fresh, even if mm full bloom, is by bruising the bark of the branches where they will be under water. This will make cherry, apple, dogwood, etc., last a remarkably long time. L 196 ] ee Sl ee CHAPTER EIGHTEEN PROPER USE OF VASES HE flower containers of Japan are innumerable, and made of almost every kind of material. It is gen- erally conceded that the Kwabin, a long- necked vase, was the most ancient form. This vase required an arrangement of considerable height, that was difficult to balance, and Jed to the use of the broader, lower vases now so common and brought into use correspondingly lower compositions of flowers. Large Mouthed Vases. Vases which have a very wide opening. The flowers must not touch the edges of the opening unless placed high; if on the eye level or below, flowers must stand higher than opening. Square Vases. Flowers must not be L 197 ] THE FLOWER ART OF JAPAN turned at angles but in graceful curves. If square vases are stood on a stand or a table it must be a round one. Round Vases. Flowers may be turned in angles and stood on square stands. Vases with Handles. By this is meant the small handles which project at the sides, known in Japan as ears. Branches or flowers must never touch these handles. How to Wet Vessels to Represent Dew. It is considered very complimentary when expecting a guest to have not only the flowers wet, as though covered with dew and freshly gathered, but the receptacle also. This effect 1s accomplished with bam- boo and bronze vases by plunging the whole vase in cold water, which causes beads of water to settle on the outside. Porcelam vases are never treated in this way. In Japan it would not do to use a flower vase in the spring which had been used all winter. Vases change with the flowers. Spring Vases are of medium size. When L 198 J PROPER USE OF VASES standard vases are used they must be tall and slender. Summer vases for water-growing things must be as shallow as possible. Summer. Standard vases, very wide- mouthed and not high. Low vases, very wide. Autumn. Porcelain receptacles are more used, boat-shaped being very popular at this season. Winter Vases. In winter standard vases are used almost entirely. They are very tall and straight in shape. The ways of carmg for the vases are too elaborate to describe, but it may be useful to know how to prevent bamboo vases from splitting. These vases, which are so attractive, will never break if a few drops of sake or sherry are put in the water, or if the water is changed entirely every day. They should be dried out thoroughly every two weeks, but never by steam heat or the sun. The form, color, size, and decoration of all flower vessels is selected with great L 199 J THE FLOWER ART OF JAPAN care in reference to the flowers to be used. There are certain combimations of vase and flowers which have to the Japanese, besides artistic value, certain virtues given these different combinations by Yoshimasa. For example, a vase made from old wood hold- ing a twining vine expresses aspiration, Choko-tei. Serenity is expressed by a hang- ing bronze boat filled with white chrysan- — themums, which suggests a ship with a full cargo in port. All these quaimt fancies help to bring about a perfect harmony of flowers and vase which is never lost sight of in Japanese floral decoration. [ 200 | Re ee Se Se —_™ CHAPTER NINETEEN FLOWER CEREMONY HERE is a regular ceremony of ar- ranging flowers, almost a counter- part of the Cha-no-yu or Tea Ceremony, not perhaps of general interest, but proving the importance given to this art. This ceremony like that of Cha-no-yu is studied to develop the power of con- centration. The knowledge of such cere- monies puts us in closer sympathy with the people of Japan, while it prevents on both sides many embarrassing situations. First comes the ceremony of viewing the flowers, which have been already ar- ranged. After entering and greeting your host, you can approach only to within a certain distance of the tokonoma or re- cess where the flowers are placed. The [ 201 | THE FLOWER ART OF JAPAN proportions of a room are told m mats, not by feet as in other Jands; a room being seven, nine, or eleven mats. So you take your seat one mat or about three feet in front of the tokonoma and from this position make your bow to your host. Then you begin a close scrutiny of the flower, lookmg first to discover if the plant’s natural growth characteristics are well brought out, if each principle is strongly developed, if the season of year is expressed. Notice if the variety of flowers used has been suggested by a poem or painting of flower on the kakimono, admire the beauty of the vase, its form, the material from which it ts made and the design, also see if flowers and vase are in harmony, not only color harmony but also Ine and proportion. After this you are able to judge of the ability of your host. Another view of the flowers, accompanied by a word or two of praise, and you with- draw farther away from the flowers and nearer your host. It is not necessary to give all the details of this ceremony, but [e202 j ! ‘ . i EG) i Corioreur Tokonoma with the Empty Vase ready for Flower Ceremony. The Character Represents the Guest’s Seat FLOWER CEREMONY as the rules observed in viewing flowers are the most important and helpful in making an arrangement, I give this portion of the ceremony more fully than otherwise I should have ventured to. After giving much time and attention to admiring the flowers arranged by the host, the guest is asked to make an ar- rangement, but he asks to be excused, plead- ing what is called a poor hand, meaning he is not skilful. However, after repeated in- vitations he volunteers to do the best he is capable of, realizing it would be rude not to conform to the desire of his host, even in spite of his poor hand. The host then acknowledges his kindness by a profound bow, and brings forth a flower vase and stand which are placed in the tokonoma, also a beautiful lacquer tray on which are the flower tools, a variety of kubari, or supports, a kakin or white napkin which must always be cut the proper size and placed under the tools on the tray. Then the “te-joro” or water pot is placed also L 205 ] THE FLOWER ART OF JAPAN on a tray, as shown in the illustration. At this pomt more bows are exchanged and the guest begins to work. The different articles are taken from the tray in regular order and in a prescribed way. The kakin is folded and unfolded as in the Cha-no-yu, the ceremony proceeds slowly and with a precision possibly trying at first to the nerves of a Westerner, yet a novelty and charm remain that make you return after such an experience thoroughly refreshed in mind. [ 206 ] FRET > SD 2 a) 7 G : 2 Pic Tools Removed from Tray and Kakimono Changed. The Guest Draws Closer on Commencing Arrangement CHAPTER TWENTY SYMBOLISM IN FLOWER ARRANGING 5 age keen enjoyment of symbolical de- signs in this Flower Art is shown by the wonderful details of such decorations. The shapes into which the flowers are bent, as well as the forms of the vases and flower stands, represent ob- jects which have been made familiar to all through history, legend, and romance. Besides the intense fondness of nature constantly referred to, the Japanese also possess a love of the humorous and an almost restless desire for variety. This fond- ness for variety is nowhere more strongly shown than in the unsymmetrical balance of forms in flower arranging. These symbolical groups do not represent this art in its simple pure form, and there- L 209 ] THE FLOWER ART OF JAPAN fore are not so highly valued as those forms which take nature as their guide. Through a longing to create something new, and a remarkable judgment regarding the fitness of things, these symbolical arrangements have been developed. They are frequently more grotesque than beautiful and are used at large gathermgs to promote talk and a closer scrutiny than would generally be given by masses of people to the simpler but more exquisite compositions. That all symbolical arrangements are not grotesque is shown by the common and beautiful composition known as Sho-chiku- Bai, a combination of pme, bamboo, and plum, which is used at New Year and for wedding ceremonies. In Chapter Fifteen there is given a beautiful example of this combination. Here is an uncommon and grotesque arrangement. The pine at the top in the bronze bowl is tied with a cord, which always signifies a gift or offering; the figure forming the standard and holding the bowl has a bamboo design on his kimono, [ 210 | amp f__. aR \\) SS A. RPA Y, if] & |! — ~\y ‘ Ka ——— xs —>S>>>> BY BSc ca 7 Bir thd 3 thigh, ACRE Gran Ae a ot Br Bub Kt le Akad ae tk Sho-Chiku-Bat in 3) ee | Sat >is a 36 ee , Shen BE Siw Hee Bs BOOS By ROY a wel DN Ce Neen Sy BR RE HK RN BB OAK) ‘s gcd Nin SX) a. N Fires a S74 ee D SES fj P ae 5 ay N ¥ a BR Ae pmo wv Ac Ky wt Sh to nedin Cale Se UN 22 Symbolical Arrangement SYMBOLISM IN FLOWER ARRANGING while the Ime of his figure, with extended foot, corresponds to the principal lines of a flower arrangement. The plum holds the highest position. These three trees have woven about them pretty fables which secure for them great favor from both old and young. The pine and the bamboo are both popularly believed to possess an almost supernatural longevity, as well as to hold a beneficial influence over mankind. The plum is looked upon as sacred. All the idols in the temples and private dwellings are decked with branches of ume or plum, the symbol and herald of spring. The contrast between the gnarled age- worn trunk and the delicate fresh blossoms suggests to the imaginative Japanese hun- dreds of allegories, such as the renewal of youth in the heart of decay; the victory of hope over despair, etc., etc. It is all this which endears the Sho-Chiku-Bai to the hearts of the people. In the illustration of an arrangement of Pars] THE FLOWER ART OF JAPAN pine with an arrow in the center, notice the shape of the vase, which is supposed to represent a crane, also a symbol of long life. and much venerated by the people, for in olden times nobody was allowed to shoot one of these birds without an order from the emperor. The stand beneath the vase forms a tortoise which means happiness, long life, and also good luck; the mserted arrow forms a protection against prey or enemy. It would be possible to go on mdefinitely describing these symbolical arrangements, but, as they are merely attractive methods of suggesting history and legend only known to comparatively few out of Japan, they can be of little aid to the student of Flower Art in other lands. ip Pid ste * ee ano | 7h hy P i Be ite i at lf ‘ A ’ i ' 24 ea H DP eeae yl, “a { ; ; i ot Tal we ¥ i! nda! N J Nd « That SRL se ws : QwxHY ote J : : me % Konak nek ad 4 $ Be 7 | i 009267232