.

WBmsm

HHBHHB

FLOWERS OF JAPAN

AND

THE ART

*£;*'•.:!,

^u--

FLORAL ARRANGEMENT

ONDER

.

THE

FLOWERS OF JAPAN

AND

S

THE ART

OF

FLORAL ARRANGEMENT.

THE

FLOWERS OF JAPAN

AND

THE ART

OF

FLORAL ARRANGEMENT

BY

JOSIAH CONDER, F.R.I.B.A.

Professor of Architecture, and Architect to the Imperial Japanese Goykrnmini ;

WITH ILLUSTRATIONS BY JAPANESE ARTISTS.

[all rights reserved.]

TOKIO :

PRINTED AND PUBLISHED BY THE HAKUBUNSHA, GINZA ; ALSO BY KELLY AND WALSH, LIMITED
YOKOHAMA, SHANGHAI, HONGKONG, AND SINGAPORE.

London : SAMPSON LOW, MARSTON, & COMPANY, Limited,
ST. DUNSTAN'S HOUSE, FETTER LANE, E.C.

189:

J

THE OLD FOLKS AT HOME,

FROM WHOSE COMPANIONSHIP MANY YEARS OF

WORK IN FAR OFF JAPAN HAVE SEPARATED ME,

THIS VOLUME IS AFFECTIONATELY INSCRIBED

THE AUTHOR.

1

PREFACE.

The interest shown both here and at home in a short paper on the Theory
of Japanese Flower Arrangements, read before the Asiatic Society of Japan in 1889,
and printed in the Transactions, led me to undertake the preparation of the present
work. If, as some reviewers of that essay suggested, a New Art worthy of imitation
in the West, was then revealed to them, the present attempt to treat the subject in
a fuller and more attractive manner may find its justification.

The results of this endeavour to simplify and recast in more popular shape
the principles of the Floral Art of Japan, are doubtless not without numerous
imperfections. Some of these are attributable to the pressure of other occupations,
and some to the almost insuperable difficulty of rendering clearly in the English
language, thoughts and expressions entirely foreign to the Western mind. Other
defects may be traced to the lack of local facilities and resources.

No attempt has been made to discuss the different Schools of flower design,
each of which lays claim to be the only true exponent of the Art, and to possess
secrets unknown to rival teachers. A study of the different theories of these Schools,
and of designs illustrated in their published works, shows that the principles of
arrangement followed deviate in no important points. Varying terms to describe the
same radical lines in compositions, contradictory traditions accounting for practices
leading to similar aesthetic results, and a few special instructions for artificially pro-
longing the vitality of plant and tree cuttings, seem to have been sufficient in many
cases, aided by the name of some new patron, to establish an independent School
of the Art.

The only modern style of floral design, which, judged by its productions,
shows methods of treatment somewhat at variance with the general principles ex-

plained in this work, is the Ikenobo style, which may be described as a modification
of the earliest flower arrangements called Shin-no-hana and Rikkwa, to which allusion
has been made on pages 39 and 40.

In preparing the present work I have received help from several friends to
all of whom I beg to tender my best thanks. The botanical works of Professor
R. Yatabe, of the Imperial University, have been an invaluable aid in classifying the
ordinary Japanese plants and trees, and I have also received some kind assistance
from that gentleman in identifying some of the rarer specimens. My thanks are also
due to Professor Basil Hall Chamberlain for translations of Japanese sonnets upon
flowers, some of which have been embodied in the first portion of this work. For the
principal coloured illustrations, I am beholden to the well-known artist, Tsukioka
Yoshitoshi, of the Popular School of painting, the six plates of Flower-viewing being
from his brush; also to Kawanabe Kiosui, daughter of the famous painter Kiosai,
for the illustrations of Japanese interiors. The outline woodcuts are produced from
drawings mostly extracted from native works and prepared under my own direction.

The work of printing and publishing has been carried out by the Hakubunsha,
Tokio, chiefly under the direction of Mr. Mayeda Renjiro, who has besides given
much courteous assistance in other ways. I am also under no small obligation to
Mr. J. E. Beale, Manager of the "Japan Mail," for valuable hints as to arrangement
and setting up, and to Messrs. F. A. Satow and W. B. Mason for a careful
revision of the proofs.

JOSIAH CONDER.

Tokio, June, 1891.

CONTENTS.

Description of Illustrations

THE FLOWERS OF JAPAN.

Page.
... X

I

Introduction

Spring Flowers : Plum Blossoms— Cherry Blossoms

Summer Flowers : Wistaria Blossoms-Irises-Peonies-Lotus Flowers "

Autumn Flowers : Chrysanthemums-The Seven Plants of Autumn-Maples 15

THE ARRANGEMENT OF FLOWERS.

21

Introduction .,,,„,. m

Flowers according to their Months: Ominous Flowers-Flowers suitable for Felicitous
Occasions-Flowers prohibited for Felicitous Occasions-Appropriate Combinations-Ob-
jectionable Combinations

History and Theory

Lineal Distribution

Selection of Material

Flower Vessels: Standing Vases-Flower Baskets-Bamboo Vases-Hooked Vessels-Sus-
pended Vessels-Flower Fasteners-Choice of Flower Vessels-Water in Vases-Stones

and Rocks— Flower Trays and Stands

85

Position of Flowers in Rooms

Ceremonial and Etiquette: Flowers for the New Year-Flower for the Five Festivals-
Flowers used at Betrothals-Flowers for Wedding Festivities-Flowers for Com.ng-of-age
Celebrations-Flowers for the Ceremony of Religious Retirement-Flowers for Old Age
Celebrations-Flowers at Farewell Gatherings-Flowers for the Sick-Flowers before
Household Shrines-Flowers at Death Anniversaries-Flowers at Prayers for Rain or Fine
Weather-Flowers used at Moon Viewing-Flowers for House Warmings-Flowers for
Poetry Meetings-Flowers for the Tea Ceremonial-Flowers for Incense Meetings 95

Practical Examples: Arrangement of Plum Branches-Arrangement of Pine Branches-
Arrangement of Bamboo-Combination of Pine, Bamboo, and Plum-Arrangement of
Willow Branches-Arrangement of Wistaria Flowers-Arrangement of Irises-Arrangement
of Peonies-Arrangement of Lotus Flowers-Arrangement of Chrysanthemums-Arrange-
ment of the Nuphar jafiomcum-Axrva&maxt of the Kerria ^^-Arrangement of
Narcissus Flowers-Arrangement of Cherry Blossoms-Arrangement of Peach Blossoms-
Arrangement of Camellias-Arrangement of Convolvuli-Arrangement of Lcspedeza Flowers
-Arrangement of Rhodea Japan ^-Arrangement of Leaf Orchid-Arrangement of Maple

IIC

Branches — Miscellaneous

w

DESCRIPTION OF ILLUSTRATIONS.

COLOURED PLATES.

Plate I. — Viewing the Plum Blossoms.

Plate II. — Cherry Blossoms at dusk, Yoshiwara, Tokio.

Plate III. — Wistaria Blossoms, Kameido.

Plate IV. — Viewing the Irises, Horikiri.

Plate V. — Viewing the Seven Flowers of Autumn.

Plate VI. — Viewing the Maples at Oji.

Plate VII. — Early Style of Flower Arrangement {Shin-no-hana).

Plate VIII. — Early Style of Flower Arrangement [Shin-no-hana).

Plate IX. — Early Style of Flower Arrangement (Shin-no-hana).

Plate X. — -Early Style of Flower Arrangement (Rikkwa).

Plate XXVII. — Japanese Interior with Arrangement of Spring Flowers.

Plate XXVIII. — Japanese Interior with Arrangement of Summer Flowers.

Plate XXIX. — Japanese Tea-room with Arrangement of Autumn Flowers.

Plate XXX. — Japanese Interior with Arrangement of Winter Flowers.

OUTLINE PLATES.

Plate XI. — Lineal Arrangement of Flower Stems.

Plate XII. — Lineal Arrangement and Cardinal Direction of Stems.

Plate XIII. — Diagram showing Errors to be avoided in Floral Designs.

Plate XIV. — Proper and incorrect Combinations of Trees and Plants.

Plate XV. — Standing-vases.

Plate XVI. — Flower-basins, Tubs, and Baskets.

Plate XVII. — Various sorts of Flowers-baskets.

Plate XVIII. — Bamboo Standing-vases.

Plate XIX. — Hooking Bamboo Vases and miscellaneous Receptacles.

Plate XX. — Pillar-tablets and Flower-stands.

Plate XXI. — Suspended Vessels of Bronze, Wood, and Bamboo.

Plate XXII. — Various Boat-shaped Receptacles with Floral Designs arranged within.

Plate XXIII. — Boat-shaped Receptacles of Bamboo, showing the principal lines of Flowers.

Plate XXIV. — Different kinds of Flower-fasteners.

Plate XXV. — Application of fancy Flower-fasteners.

Plate XXVI. — Special Structures for carrying Floral Designs.

Plate XXXI. — Defective and corrected Arrangement of Kerria japonica.

Plate XXXII. — Defective and corrected Arrangement of Spiraa cantoniensis.

Plate XXXIII. — Defective and corrected Arrangement of Leaf Orchid.

Plate XXXIV. — Diagram illustrating a trilineal Arrangement of Plum Branches.

Plate XXXV. — Arrangements of Plum Blossoms in Sand-basin and hooking Basket.

Plate XXXVI.— Arrangements of Plum Blossoms with other Flowers in a high Bamboo
Vase.

Plate XXXVII. — Arrangements of Pine, and arrangement of Cabbage-plant.

Plate XXXVIII. — Arrangements of Bamboo.

Plate XXXIX. — Arrangements of Pine, Plum, and Bamboo (Sho-chiku-bai).

Plate XL. — Arrangements of Willow Branches.

Plate XLI. — Flower Arrangements in suspended Moon-shaped Vessels.

Plate XLI I. — Arrangements of Wistaria in a Bronze Boat, and of Lespedeza in a Crescent-
shaped Vessel.

Plate XLIII. — Method of arranging Irises.

Plate XLIV. — Completed arrangements of Irises in Standing-vases.

Plate XLV. — Arrangements of Fir with Irises, and of Weeping Cherry with Irises.

Plate XLVI. — Paired Arrangement of Irises and Asters.

Plate XLVII. — Arrangements of Peony, singly, and of Peonies with Irises.

Plate XLVIII. — Double Well bucket Arrangement of Clematis, and hooked Arrangement of
Clematis.

Plate XLIX. — Arrangements of Leaf Orchid and of Nuphar japonicum.

Plate L. — Arrangements of Convolvuli and of Dianthus superbus.

Plate LI. — Arrangements of Chrysanthemums.

Plate LI I. —Arrangements of Nandina domestica and of Kerria japonica.

Plate LI II. — Arrangements of Funkia ovata and of Narcissus.

Plate LIV. — Arrangements of Peach Blossoms in hooked and standing Vases.

ILLUSTRATIONS PRINTED WITH THE TEXT.

Figure i, page 47. — Diagram showing Vertical-triangle Arrangement of Flower-lines.

Figure 2, page 48. — Diagram showing Horizontal-triangle Arrangement of Flower-lines.

Figure 3, page 55. — Long-necked Standing-vase containing Arrangement of Pine.

Figure 4, page 56. — Flower-tub with Carnation, held by a Fan-fastener.

Figure 5, page 57. — Well-frame Vase containing Clerodendron squamatum (Togiri) and Enlaria

japonica (Susuki).
Figure 6, page 58. — Hokoji Flower-basket containing Convolvuli.
Figure 7, page 59. — Sosen Flower-basket containing Chrysanthemums.
Figure 8, page 60. — Sock-shaped hooking Basket containing Willow and Narcissus.
Figure 9, page 61. — Bamboo Vase with Chrysanthemums.

Figure 10, page 65. — Hooking Vase in embroidered bag containing Chrysanthemums.
Figure ii, page 67. — Flower-raft holding small Basket containing Cherry Blossoms.
Figure 12, page 70. — Inverted Umbrella of Bronze, with Camellia, Rush, and Ivy.
Figure 13, page 71. — Flower-chariot with Autumn Plants and Grasses.
Figure 14, page 76. — Inverted Bronze Bell containing Wistaria and Pine.
Figure 15, page 78.— Diagram showing disposition of Floral Lines in upper and lower openings

of high Bamboo Vases.
Figure 16, page Si.— Arrangement of Charcoal Blocks in a Basin, with Flowers.
Figure 17, page 82. — Table for Incense-burner with Shelf for Flowers below.
Figure 18, page 91. — Flower-basin with surrounding Frame for a Creeper.
Figure 19, page 95. — Flower-ball.

Figure 20, page 96. — Utensils and Tools for arranging Flowers.
Figure 21, page 98.— Plum-branch with Paper Wrapper for Presentation.
Figure 22, page 117. — Arrangement of Willow -in -wind in a small Flower Basket.
Figure 23, page 118. — Arrangement of Wistaria, in large Basin with Stones.
Figure 24, page 124. — Arrangement of Summer Chrysanthemums.
Figure 25, page 125. — Arrangement of Autumn Chrysanthemums.
Figure 26, page 127.— Arrangement of Kerria japonica in large Basin with Ja-kago— fastener.

THE FLOWERS OF JAPAN-

INTRODUCTION.

" Flowers seem intended for the solace of ordinary humanity ;
children love them ; quiet, tender, cultivated, ordinary people
love them as they grow ; luxurious and disorderly people
rejoice in them gathered."— John Ruskin.

*Wp£MONG the many general impressions which exist abroad with regard to Japan,
5m|is one, that it is a land abounding in flowers,— that nature has lavished her
J^^T floral gifts with special favour upon these sunny islands of the Far East. And in
*&*■ a great measure is this popular fancy justifiable, considering the abundant and
imposing display produced by flowering trees and shrubs, at certain seasons, in and around
the principal cities. In the sense, however, of wild floral profusion, Japanese scenery lacks
much that other countries can boast. The traveller from the West, whose rural wanderings
nearer home have made him familiar with furze and heather-clad moors, green flower-
sprinkled meadows, and hills and forests girdled or carpeted with flowering plants, will miss
in Japan some of these charming adornments of natural landscape. There is one short
season in the year, when the rice is young, and the honey-scented rape blossom spreads
broad stretches of yellow colour over the plains, that recalls to the mind the
flowering verdure of other lands ; but the rice culture, with its endless terraces of mud
flats, and the coarse bamboo grass, which in place of softer mead covers every uncultivated
hill and glen, deprive the scenery of all but a passing suggestion of the colouring of
Western meadows and uplands. The comparative scarcity of groups of wild flowering
plants, as a feature in the landscape, is, however, to some extent made up for by the
blossoming trees, which at certain seasons show soft masses of colour amid the foliage
of the hill sides. The wild camellia, azalia, magnolia, plum, peach, and cherry are the
most important of these flowering trees. In particular the wild cherry, which abounds
in the Northern island, adds to the wooded landscape an appearance of soft clouds of
pale pearly tint, likened to mist upon the mountains.

2 THE FLOWERS OF JAPAN.

The flower charm which exists in Japan is not, however, mainly one of pastoral
associations, but is closely connected with the national customs and the national art.
The artistic character of the Japanese people is most strikingly displayed in their
methods of interpreting the simpler of natural beauties. The extravagant taste which
demands for its satisfaction the grand, the rare, and the novel, and is unmoved by the
modest attractions of more familiar surroundings, is little shared by the masses of the
people, who have given their chief sympathies to the humbler aspects of nature. Though
the more majestic scenery of the country has served as a constant theme for the painters
and poets of the Court and nobility, the popular art has always been an expression of the
daily life of the people, and of those simple natural surroundings, customs, and familiar
beliefs which contribute to its enjoyment. The recurring months of the year, with the
various duties and pleasures which custom has sanctioned, and the quaint fancies with
which tradition has clothed them, form the inexhaustible source from which artists of
all kinds have looked for inspiration in this country. The common flowers of the
seasons have been given a prominent place in the fete-day calendar. Almost every
month is known by its special blossoms, and all the important cities have groves and
gardens devoted to their public display. Treasured chiefly as heralds of the seasons,
and as inseparable from the favourite pursuits and pastimes of out-door life, Japan-
ese flowers are by no means esteemed in proportion to their scarcity or difficulty
of production. The isolated merit of rarity, so much sought after in the West, has
here little or no attraction. The florists of the country are not deficient in floricultural
skill, and produce in certain blossoms forms of considerable artificial exuberance, but
the popular taste shows a partiality for the more ordinary and familiar flowers, endeared
by custom and association.

Flower viewing excursions, together with such pastimes as Shell gathering,
Mushroom picking, and Moon viewing, form the favourite occupations of the holiday seeker
throughout the year. By a pretty fancy, the snow-clad landscape is regarded as Winter's
floral display, and Snow viewing is included as one of the flower festivals of the year.
The Chinese calendar, followed until recently by the Japanese, fitted in admirably with
the poetical succession of flowers. Spring, the Japanese Hani, opened with the New
Year, which commenced about February, and was heralded by the appearance of the
Plum blossoms.

<

t

SPRING FLOWERS.

PLUM BLOSSOMS.

i^( NRICHING the bare landscape with its bloom, and filling the air with its fragrance

fgj| at a time when the snow of winter has hardly passed away, the blossoming Plum

^S\n1 tree has come to be regarded with especial fondness by the Japanese. Combined
•V with the evergreen pine and bamboo, it forms a floral triad, called the Sho-chiku-bai,
supposed to be expressive of enduring happiness, and is used as a decorative symbol on
congratulatory occasions. The Plum blossom is often referred to as the eldest brother of
the hundred flowers, being the earliest to bloom in the year. Quick 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, its stiff, straight shoots, and sparse, studded arrangement of
buds and blossoms. Thus, a fancy has arisen for the oldest trees, which exhibit these
characteristics to perfection. In them is shown the striking contrast of bent and crabbed
age with fresh and vigorous youth ; and, as if to render more complete this ideal, it is
held that the Plum tree is best seen in bud and not in full blossom.

The gardeners of the country, so clever in the training of miniature trees, find in
the Plum a favourite object for their skill, imitating in miniature the same character of
budding youth grafted on to twisted and contorted age. These tiny Plum trees, trained
in a variety of shapes, — bent, curved, and even spiral, — with their vertical or drooping
graftings of different coloured blossom-sprays, fresh, fragrant, and long lasting, form one
of the most welcome room decorations during the first months of the year.

Poets and artists love to compare this flowering tree with its later rival, the cherry.
With the latter, they say, the blossom absorbs all interest, whereas, in the case of the
Plum, attention is drawn more to the tree itself: the cherry blossom is the prettier and
gayer of the two, but the Plum blossom is more chaste and quiet in appearance, and has,

4 THE FLOWERS OF JAPAN.

besides, its sweet odour. The fragrance of the Plum blossom is constantly referred to
in the simple poetry of the country, and the following free translation may be given as-
an example of one of such verses : —

" In Spring time, on a cloudless night,

When moon-beams throw their silver pall

O'er wooded landscape, shrouding all
In one soft cloud of misty white,

T'were vain, almost, to hope to trace
The plum trees in their lovely bloom
Of argent, t'is their sweet perfume

Alone which leads me to their place."

The custom of planting Plum trees in groves and avenues to form pleasure resorts
during blossom time, seems to be of comparatively recent date ; and some of the most
famous Plum groves are really orchards, originally planted for the sake of the fruit. It
is said, that in China, from whence Japan borrowed many of her customs and cults, this
tree was first esteemed for its fruit alone, and in later and more aesthetic times it
became honoured for its pure blossom and sweet scent. In the earliest Japanese annals
we read of a single Plum tree being regularly planted in front of the South pavilion
of the Palace at Nara, which was replaced by a cherry tree in later times, when the
latter had in its turn become the favourite of the Court. In connection with this Im-
perial custom, a pretty story is told explaining the origin of the name O-shitkii-bai, meaning
Nightingale-dwelling-plum-tree, applied, even to the present day, to a favourite species
with pink double blossom and of delicious odour. Some time in the tenth century the
Imperial Plum tree withered, and, as it was necessary to replace it, search was made for
a specimen worthy of so high an honour. Such a tree was found in the garden of the
daughter of a famous poet, named Kino Tsurayuki, and was demanded by the officials
of the Court. Unable to resist the Imperial command, but full of grief at parting with
her favourite Plum tree, the young poetess secretly attached to its trunk a strip of
paper upon which she wrote the following verse : — ■

"Claimed for our Sovereign's use,

Blossoms I've loved so long
Can I in duty fail ?
But for the Nightingale,

Seeking her home of song,
How shall I find excuse ?" — Brinkley.

This caught the eye of the Emperor, who, reading the lines, enquired from
whose garden the tree was taken, and ordered it to be returned. The season of the

FLOWER VIEWING. 5

Plum blossom is made musical with the liquid note of the Japanese nightingale, and
in the different decorative arts this bird is inseparably associated with the Plum tree.
Similar combinations of bird and flower, or even of beast and flower, are numerous,
and strictly followed in the many designs of the country; such, for example, are the
associations of Bamboo leaves and Sparrows, Pea-fowl and Peonies, and Deer with
Maple trees.

In later times Plum trees were planted in large numbers in rural spots near
to the ancient Capitals, forming pleasure resorts for the ladies of the Imperial Court.
Along the banks of the river Kizu, at a place called Tsuki-ga-se, in the province of
Yamato, fine trees of pink and white blossom line the banks for upwards of two miles,
diffusing their delicious scent around. These trees are what remains of quite a forest
of Plum trees said to have stretched for miles around. The modern Capitals have
also their favourite Plum orchards, visited by crowds of sightseers in blossom
time, at the end of January. Sugita, a village not far from Yokohama, possesses one
of the most famous, having over a thousand trees, many of which are eighty or a
hundred years of age, and which supply in the Summer most of the fruit consumed
in the Eastern Capital, Tokio. It is popularly known and frequented for its blossoms
alone in the early Spring. This orchard boasts six special kinds of tree, distinguished
by different fancy names having reference to the character of flower ; the principal of
which are trees of pink, and others of green blossom, — for the white Plum flower has
a faint tinge of emerald. In all, there are said to be sixty different species existing
in Japan. The blossom held most in esteem is the single blossom of white or
greenish white colour and of small size. All the white kinds are scented, but of the
red some have no perfume. There is an early Plum of red double blossom which
blooms before the Winter solstice, and is of handsome appearance, but it has little
or no scent.

Every visitor to Japan has heard of the Gwa-rio-bai, or Recumbent-dragon-
plum-trees at Kameido, a famous spot in the North of Tokio. At this place there
existed, up to fifty years ago, a rare and curious Plum tree of great age and contorted
shape, whose branches had bent, ploughing the soil, forming new roots in fourteen
places, and straggling over an extensive area. This tree, from its suggestive shape,
received the name of the Recumbent Dragon, and, yearly clad with fresh shoots and
white blossoms of fine perfume, attracted large crowds of visitors. From this famous
tree fruit was yearly presented to the Shogun. Succumbing at last to extreme age,
it has been replaced by a number of less imposing trees, selected on account of their

6 THE FLOWERS OF JAPAN.

more or less bent and crawling shapes. This present group of trees, inheriting the
name and somewhat of the character of Recumbent Dragons, makes a fine show of
blossoms in February, and keeps up the popularity of the resort.

Komurai and Kinegawa, near Kameido, also have blossom-groves much
frequented.

Another noted spot is Komukai, near Kawasaki, on the Tokaido, not far from
the Capital, historically famous as having been often visited by the Shogun, and
possessing trees over two hundred years of age.

At Shinjiku, another place on the outskirts of Tokio, is a fine grove of Plums,
popularly called the Silver-world (Gin-sckai), a term often applied to the snow-clad
landscape, and having special reference in this instance to the silver whiteness of these
blossoms.

PLATE I.

VIEWING THE PLUM BLOSSOMS.

CHERRY BLOSSOMS.

HE third month of the old Spring, corresponding with the present April, is the

f icq month of the Cherry blossom, the King of flowers in Japan. This flower is
f remarkable for its softness and exuberance, as contrasted with the severe simplicity
of the plum blossom. The latter blooms fresh, vigorous, and leafless, in the
bare and often snow-clad landscape ; the former, with its florid richness, enhanced in
some cases by young reddish leaves, is specially fitted to assert itself amid the greenery
of budding Spring. But the splendour of the Cherry's bloom is transitory in comparison
with the more lasting qualities of the plum, which retains its beauty for a full month.
The Cherry flowers must be viewed during the few short days of their prime, and should
these days be stormy, the full glory of the sight is lost. The most enthusiastic partizans
of the Cherry blossom assert that it is all the more precious on account of its
transient character.

The wild Cherry seems to have existed in Japan from time immemorial, and
still abounds in the woods of the Northern island, where the Aino aborigines apply
its bark to many purposes. In ancient times, however, the plum tree, of Chinese
importation, seems to have absorbed the attention of the Court and people, and it was
in later times that the Cherry, the flower of the country, appears to have found its
place in their affections. Though early records refer often to the plum, there is no
mention of the Cherry earlier than the time of Richiu, an Emperor of the fifth century.

This Monarch was disporting himself with his courtiers in a pleasure boat, on
the lake of the Royal park, when some petals from the wild Cherry trees of the adjoin-
ing hills fluttered into the wine cup from which he was drinking. This circumstance
is said to have drawn His Majesty's notice to the beauty of this neglected blossom,
and from this time also arose the custom of wine drinking at the time of Cherry
viewing. To this day there is a popular saying, " Without wine who can properly

8 THE FLOWERS OF JAPAN.

enjoy the sight of the Cherry blossom ?" It was reserved for a later Emperor in the
eighth century to give to the Cherry that importance as a national flower which it
has ever since retained. Whilst on a hunting expedition on Mount Mikasa, in the
province of Yamato, the Emperor Shomu, attracted by the beauty of the double Cherry
blossoms, composed the following short verse, which be sent, with a branch of the
flowers, to his favourite Consort, Komio Kogo : —

" This gathered cherry branch can scarce convey
A fancy of the blossom-laden tree,
Blooming in sunlight ; could I shew it Thee,
Thoughts of its beauty would drive sleep away ! "

To satisfy the curiosity of the ladies of His Court, the Emperor afterwards
ordered Cherry trees to be planted near the Palace at Nara, and from this time the
custom was continued at each succeeding Capital.

Yamato, the province in which were situated several of these ancient Capitals,
is the most noted for its Cherry groves, and at a spot called Yoshino a thousand
trees line the path and cover the hill side. It was a favourite fancy to compare the
appearance of these trees in blossom to mists or snow upon the hills. (" The Cherry
blossoms on Mount Yoshino deceive me into thinking they are snow ! ")

In the thirteenth century the Emperor Kameyama caused a number of Cherry
trees from Yoshino to be planted at Arashiyama, a beautiful hilly spot on the banks
of the rapid river Oi. Here he built a Summer pavilion, and, in Spring and Autumn,
Court after Court visited the lovely spot, rendered further famous in a verse composed by
one of the Imperial line ; — " Not second to Yoshino, is Arashiyama, where the white
spray of the torrent sprinkles the Cherry blossoms." This spot no longer possesses
its Imperial pavilion, but remains a favourite resort for sight-seers from the Western
capital, in the months of the Cherry and Maple. Numerous tea houses and booths,
on the banks of the rapids, give a fine view of the wooded hills opposite, amidst the
Spring greenery of which may be seen the pearly white clouds of the Cherry blossoms.
Here the blossoming trees form a part of the distant landscape, as they must
have been originally viewed in their natural wildness, when they first attracted the
admiration of the earlier Emperors, and before their more gorgeous successors of
double-flower became arranged and isolated in artificial orchards and avenues.

FLOWER VIEWING. g

In and near to the present Eastern Capital are several spots renowned for
their show of Cherry trees in blossom, originally brought from Yoshino, and from the
banks of the Sakura river in the province of Hitachi. One of these resorts, at a place
called Asukayama, is often spoken of as the New Yoshino.

Koganei, some half day's ride from Tokio, is perhaps the most attractive
spot for seeing the double Cherry in full 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 to Tokio. It is said that they were first planted imme-
diately after the completion of the aqueduct, by command of the Shogun Yoshimune,
in the beginning of the eighteenth century, with the idea that Cherry trees had the
virtue of keeping off impurities from water. For this purpose ten thousand trees
were brought from Yoshino, and from the banks of the river Sakura ; but the number
now remaining has dwindled to only a few hundred.

In the old temple grove, now a public park, at Uyeno, there are a number
of fine trees of the single early Cherry blossom, called by the Japanese Higan-::akura,
among which are some magnificent specimens of the Weeping Cherry. This latter
species has pendant branches, drooping like the willow, and bears single white
flowers, but no fruit ; thus being an exception to the general rule, that the trees
of single blossom bear fruit whilst those of double blossom are fruitless. The fruit of
the Japanese Cherry tree, is, however, at its best insipid and worthless. These trees
at Uyeno are all of majestic size, and present a gorgeous sight in April, with their
pale pink blossoms seen partly against the blue sky, and partly against the rich foliage
of the pines and cedars which surround the golden shrines and cenotaphs of the
Shoguns.

The most popular resort in Tokio is the Cherry avenue at Mukojima, extend-
ing for more than a mile along the banks of the river Sumida. Here the trees lack the
grandeur and natural beauty of those at Uyeno, and have no surrounding foliage to
set them off; but they are of double blossom, and bending with their weight of flowers, —
looking almost artificial in their luxurious fullness, — present a most imposing sight.
This spot is frequented by the gayest holiday makers. Wine drinking is considered
essential to a proper enjoyment of the scene, and crowds of pedestrians, bearing their
gourds of rice-wine, make such resorts merry and boisterous with their carousals.
Other visitors, of a richer class, indulge in the prospect of the blossom-laden banks
from roofed pleasure boats, accompanied often by a gay gathering of singing girls.

io THE FLOWERS OF JAPAN.

The month of the Cherry is one of high winds, and the soft petals of the full
blown blossoms fall like snow flakes covering the pathways beneath. This simple
fact is not without its attraction to the Japanese, who make much of the falling Cherry
petal in their poetry and other arts.

" No man so callous but he heaves a sigh
When o'er his head the wither'd cherry flowers
Come flutt'ring down. Who knows ? the Spring's soft show'rs

May be but tears shed by the sorrowing sky." — Chamberlain.

PLATE II.

CHERRY BLOSSOMS AT DUSK (YO-ZAKURA). YOSHIWARA, TOKIO.

'.'';

V.

SUMMER FLOWERS.

WISTARIA BLOSSOMS.

jp^TpWHE first popular flower of Summer, which, in public places, attracts the
jJ;|Cft pleasure seeker, is the Wistaria, blooming in May, soon after the cherry
l&fJ blossom has fallen. This stalwart flowering creeper is reared upon large
^-» trellises, arranged to cover long walks, bridges, or arbours, in pleasure grounds
and gardens. A favourite position is one sheltering an open gallery, which overhangs
a lake or stream. In the precincts of the popular temple at Kameido, in Tokio, close
to the famous plum trees, there are Wistarias of magnificent size, bearing blossoms
which hang in rich purple clusters, from two to three feet in length. Wide rustic
galleries, in connection with garden kiosks, extend over an artificial lake stocked with
gigantic gold fish, and the Wistaria trellises form an extended covering overhead. A
belief exists that this flower attains great size and beauty if its roots are nourished
with the rice-wine of the country, and there is, at Kameido, a tree producing specially
fine blossoms, at the base of which visitors are accustomed to empty their wine cups.
Other fine specimens exist in various parts of Japan, bearing clusters over three feet
in length, among which may be mentioned one at Noda, in the province of Settsu,
called the Shitose, or tree of a thousand years.

The Wistaria of purple blossom is most common and most esteemed, ranking
higher than the white kind. This is an exception to the prevailing custom, which places
white before other colours in blossoms of the same species, and especially proscribes
purple flowers as associated with mourning, and unfit for felicitous occasions. In
various designs the Pheasant is shown in combination with the purple Wistaria.

IRISES.

"^^-N June, the popular flower is the Ins or Flag, which is cultivated in large

^Ig marshy flats near to some river or lake. In many gardens, watered by a stream,
T£bjr a loop or bend in the water-course is spread out into a marshy expanse, planted
v'»x with Flags, and crossed by fancy plank bridges of zigzag shape. There are
four distinct species of Iris, known by different native names, but the kind most
seen is the Acorns calamus, or Sweet Flag, which the Japanese call Hana-Shobu. In
the case of displays of Iris flowers, a mass of varied colour is delighted in, the
purple, white, and variegated blossoms being grown together, indiscriminately, and
with no attempt at pattern or design. The most noted place for shows of this flower
is Yatsuhashi, in the province of Mikawa; but the popular resort nearest Tokio is a
spot called Horikiri, close to the river Sumida, to which place it is the fashion
to made excursions, in pleasure boats, early in June. Here the beds which contain the
Flags, in every variety of colour, are surrounded by elevated grassy banks, dotted
with summer-houses, from which visitors can look down upon the rich variegated
carpet below. Narrow wooden bridges give further picturesqueness to the scene,
crowded in the season with a brilliant throng of visitors, whose pretty costumes
almost vie in gaiety of colour with the flowers.

The Iris, as a water plant, is associated in art with the Kingfisher, Water
Rail, Mandarin Duck, and other water birds.

PLATE III.

WISTARIA BLOSSOMS AT KAMEIDO.

PLATE IV.

JP**V^*a

k.

wm

VIEWING THE IRISES AT HORIKIRI.

PEONIES AND LOTUS FLOWERS.

^(O^i! UMMER'S hottest months bring the Peony and Lotus, flowers which, though
f|®| hardly sufficiently democratic to rank among the most popular, yet play an
i^M-p important part in the art of the country. The Peony is cultivated in long
r<^ sheltered beds, forming generally the parterre to some adjoining chamber, from
which its magnificent blossoms can be viewed. In the grounds of the wealthy it is
subjected to scrupulous care and nursing, in order to produce flowers of enormous
size and fullness, often so large and heavy as to need artificial support. It is regarded
as the flower-queen of China, and is essentially the favourite of the upper classes in
Japan. The Peony was first, it is said, imported into this country in the ei
century, and was chiefly cultivated in the provinces of Yamato and Yamashiro. Even
now, the finest specimens in Tokio are brought from the neighbourhood of the old
Capital, Nara. The largest blossoms measure as much as nine inches across. The
Peony is. sometimes called the Flower-of-prosperity, and another fancy name by
which it is know is the Plant-of-twenty-days, given because it is said to preserve its
beauty and freshness for that period of time. Of the large Tree-peony there are
ninety distinct kinds, not including the small single kind of the same species, of
which there are said to exist five hundred varieties. Among colours, the red and
white are most valued, purple and yellow specimens, though rare, being less prized.
This exuberant flower, with its large curling petals, is a favourite subject for design
and decoration. Its companions in art are the Peacock, and the SJiishi, a kind of
conventional Lion, derived from Chinese designs; and in such company it forms the
constant decoration of Temple and Palace walls.

The Lotus is closely connected with the Buddhist religion, and is associated,
therefore, in the minds of the people, with mortality and spirit-land. The lakes of
temple grounds, especially those dedicated to the water goddess Benten, are frequently
planted with Lotuses. The fine wide moats of the Tokio Castle abound in these water

i4 THE FLOWERS OF JAPAN.

plants, which impart to them much beauty in the season. Wherever undisturbed pools
and channels of muddy water exist, the Lotus is to be found, and even the ditches
beside the railway connecting Tokio with its port, are rendered gay in the summer by
the Lotus flowers in bloom. As the Peony is said to be the national flower of China,
so the Lotus is called the national flower of India, the source and centre of Buddhism.
It is therefore considered out of place as a decoration for occasions of festivity and
rejoicing, being suggestive of a spiritual life; but it is constantly used for obsequies
and other sacred ceremonies. The Lotus serves as a suitable theme for religious
contemplation, and is the favourite flower of monastic and temple retreats: the best
displays are therefore to be seen in the lakes of the old temple groves of Kioto and
other cities. Growing out of the muddiest and most stagnant water, its leaves and
flowers are always fresh and clean; although it is particularly sensitive, and quickly
withers if brought in contact with any of the foul fertilizers by which other plants
are nourished. This purity which the Lotus maintains amid surrounding filth, is
mentioned as the reason for associating it with a religious life, and in a well-known
book of Buddhist precepts, it is written: — " If thou be born in the poor man's hovel,
but hast wisdom, then art thou like the Lotus flower growing out of the mud ! "

The white Lotus flower has a powerful and sweet perfume, but the red kind,
though more handsome, has little scent. There is a species called the Gold-thread-
lotus, because its red blossom is marked with yellow lines ; and there also exists a very
handsome flower of deep crimson colour. The Indian Lotus, which may sometimes
be found in Japan, has a large double flower, of red colour, which never closes day
or night, but falls off after five or six days. The blossoms of the ordinary kinds
close after midday. The leaves of the Lotus are almost as much esteemed as the
flowers, their broad curling surfaces of deep green making a fine show in the Lotus
ponds, and forming a favourite subject for the painter's brush.

t

I <

AUTUMN FLOWERS.

CHRYSANTHEMUMS.

"HE Chrysanthemum is the flower of Autumn, and the triumph of Japanese

.•njfefloricultural skill. Remarkable variety in form and colour of blossom is
tP^J produced in the specimens cultivated in the gardens of the Court and nobility.
v$> The Chrysanthemum flower, in its most exuberant form, loses its disc-like
character, and presents a combination of long oval petals, partly extended, and partly
curling inwards, exhibiting in contrast the different tints of face and back ; whilst, in
its most eccentric and artificial shape, it assumes the character of a confused mop of
thread-like petals, more curious than beautiful. The florists aim at producing an
extraordinary quantity of blossoms upon one stem, reaching often to the number of
several hundreds. The varieties of the Japanese Kiku, or Chrysanthemum, are numerous,
including not only those species classified as such by European botanists, but many
kinds of Pyrethrum, Aster, and other generse.

It seems that the wild Chrysanthemum, of small flower, has always been in-
digenous to Japan, and held in considerable repute, from very early times, for medicinal
purposes ; in which connection early records state that large quantities of the yellow
flower were yearly sent to the Imperial Court from the Southern provinces. The
large cultivated flower, however, is said to have been imported from Corea or China
and first planted at Hakata in 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 means
of slips and cuttings, but now the seed is employed, which is said to give greater
variety of blossom.

The Chrysanthemum is sometimes spoken of as the national flower of Japan,
a rank really belonging to the Cherry blossom ; and this misconception is probably

i6

THE FLOWERS OF JAPAN.

owing to the former being used as one of the crests of the Imperial House. The flower
has always been much honoured by the Court, and as early as the time of the
Emperor Heizei, in the ninth century, garden parties were held in the Palace for the
purpose of celebrating its blossoming time, just as, at the present day, a yearly Chry-
santhemum show takes place in the Imperial grounds. These ancient celebrations seem
to have partaken of a truly pastoral character, the Courtiers wearing the plucked
blossoms in their hair, drinking wine, and composing verses upon the beauties
of the flowers. The modern Chrysanthemum displays in the Palace gardens are more
like our own flower-shows in the social conventionality of their arrangements; but
the numerous variety, of every imaginable colour and profusion of shape, arranged
in long open rustic sheds, forms a brilliant and imposing scene hardly rivalled by
any flower-show in the world.

At the last display in the Imperial grounds at Akasaka there were a hundred
and sixty varieties of blossom exhibited, each bearing a fancy name of its own. Some
of these names are so poetically suggestive of the form or colour of the flowers
that the enumeration of a few of them will not be out of place : —

Chi-kiu-gi .
Gin-sekai .
Usu-gasumi .
Tsuki-no-tomo

Yu-hi-kage

Tama-sudare
Hatsu-yuki .
Hana-gatami
Kagari-bi

Asa-hi-no-nami
Ake no-soya .

Skigarami

Asa-ne-gami .

Hoslii-dzuki-yo
Hoshi-no-hikari

Terrestrial Globe — a large globular yellow flower.

Silver World — a flower of pure white colour.

Thin Mist — a white flower.

Companion of the Moon — a white flower.

Shadows of the Evening Sun — a flower of dull red

colour.
The Blind of Gems — a flower of orange red colour.
The First Snow — a pure white blossom.
The Basket of Flowers — a rich red flower.
Beacon Light — a red flower.
Waves in the Morning Sun — a reddish flower.
Sky at Dawn — -a flower of cherry-blossom colour (pale

pink).
Garden Fence — a flower the colour of the wistaria

blossom (lavender colour).
Dishevelled Hair (in morning sleep) — a flower of tangled

petals.
Starlight Night — a white flower.
Star's Brightness — a pale bluish flower.

"

FLOWER VIEWING.

*7

Kimi-no-megumi

Yuki-no-ashita

Tsuki-no-kasa

Ogon-no-mskiki

Shimo-no-lia .

Ogon-no-tsuyu

Mangetsu . .

Gek-ka-no-nami

Haku-rlo .

Tsuyu-no-shita-zome

Blessings of Majesty — a pale pink flower.

Snowy Morning — a flower of pale pearly pink colour.

Moon's Halo — a flower of orange red colour.

Golden Brocade — a flower of golden yellow colour.

Leaves in Frost — a white flower.

Golden Dew — a bright yellow flower.

Full Moon — a white flower.

Moonlit Waves — a flower of yellowish white colour.

White Dragon — a white flower.

Dye of the Dew — a flower of pale yellow colour.

V

There are said to be in Japan two hundred and sixty-nine colour varieties of the
Chrysanthemum, of which sixty-three are yellow, eighty-seven white, thirty-two purple,
thirty red, thirty-one pale pink, twelve russet, and fourteen of mixed colours. A fancy
prevails that in this flower the same tint is never exactly reproduced, and that
in this it resembles the endless variety of the human countenance. Blooming longer
than most flowers, the Chrysanthemum has come to be associated with longevity. In
the province of Kai, a hill, called the Chrysanthemum Mount, overhangs a river of
clear water, into which the petals fall, and a belief exists that long life is assured
by drinking the water of this stream. A favourite motive of decoration, which may
be seen in numerous conventional designs, is the Chrysanthemum blossom floating
in running water. A custom also survives of placing small blossoms or petals in
the cup during the wine-drinking which takes place during the festival of the ninth
day of the ninth month.

The ordinary varieties of Chrysanthemum are to be seen in great abundance
in the street fairs during the Autumn months. Dango-zaka, in Tokio, is the favourite
popular resort, and here the flowers are trained into groups of figures and animals,
representing historical subjects.

The Chrysanthemum is associated with the Crane, the Royal bird of Japan.

THE SEVEN PLANTS OF AUTUMN.

<t^f[M[ HE paucity of important flowering trees and plants in Autumn, has, perhaps,
rjl| ted the Japanese to make much of certain simple plants, comparatively insig-
/■ TV' mficant in themselves, but gathering importance and interest in combination.
^-»» As has already been pointed out, almost every month of the year is associated
with a special blossom, and the calendar would not be complete without a reference
to these flowers of the late Autumn. These seven plants are : the Lespedeza, the
Morning Glory, the Eularia Japonica, the Valeriana villosa, the Valeriana officinalis,
the I'ueraria Thunbergi ma, and the Carnation. Perhaps the favourite of these is the
Lespedeza, of which there are several kinds, some having pink, others white, and
others yellow flowers. Growing wild on grassy moors, it is associated with Wild
Horses, Deer, and the Wild Boar, together with which it is often depicted in different
designs. The Deer is specially associated with the Autumn time, and represented
also with other Autumn flowers, and with the reddening Maple. The seven Autumn
plants are grown together in the Hiyak-kwa-yen, or Garden-of-a-hundred-flowers, at
Mukojima. The temple grounds of the Hagi-dera, near Kameido, are famous for their
show of Lespedeza flowers.

PLATE V.

VIEWING THE SEVEN FLOWERS OF AUTUMN.

MAPLES.

NHi NOTICE of the floral festivals of the year would not be complete without re-
%7\i ference to the Maple, — for the reddening leaf of the Maple, like the foliage of
/v^many other flowerless trees, is regarded as a flower in Japan. The rich tints

'£** of the changing leaves of certain deciduous trees, hardly distinguishable from the
colouring of blossoming shrubs such as the azalia, form a favourite object of attraction
during the Autumn months. The native term Momiji, which is generally translated
Maple, is, strictly speaking, a general name applied to many trees which redden in the
Fall. Of the Maple itself, there are many varieties, distinguished both by the form of
their leaves, and the tone of their colour. No garden is considered complete without
its group of Maple trees, placed beside some artificial hill towards the West, to
receive additional splendour from the setting sun. Grassy slopes and valleys are
planted with these trees, with the object of bringing into one limited prospect the red
and golden tints in which the natural scenery of the wooded hills abounds. The
grand slopes above the river at Arashi-yama, noted in the Spring time for their show
of cherry blossoms, make a fine display of scarlet Maple foliage in the Autumn.

At Ko-no-dai, a famous prominence commanding a view of the whole plain
of Tokio, there are some fine Maple trees, noted for their enormous size. A spot
called Tatsuta, in the province of Yamato, is renowned for its splendid Maples, which
line the banks of the river, and are in full glory about the end of October. At Oji,
a suburb of Tokio, the slopes of a natural glen between the hills are thickly planted
with fine specimens of these trees, forming a most romantic spot, where, from the
galleries of a rustic arbour, may be seen the foliage in all its burning splendour.
Shinagawa and Meguro, other well known spots in the vicinity of the Capital, have
also good groups of Maple trees which attract many sight-seers. Picnicking and mush-
room gathering are pastimes which accompany the viewing of the Maple.

2o THE FLOWERS OF JAPAN.

In the poems and pictures of the country the Maple is associated with
Deer. A native verse says : —

" How full of sorrow seems the Autumn ! when,
In solitary rambles slowly straying,
Amid the russet foliage of the gltn,

I listen to the lonely stag's sad baying."

PLATE VI.

VIEWING THE MAPLES AT OJI.

ARRANGEMENT OF FLOWERS.

INTRODUCTION.

jbfjT[?\f/ HE arrangement of cut flowers in vessels of various kinds has become, with
J life the Japanese, a decorative art of considerable refinement, compared with which
l^fJ the Western methods of floral composition appear but haphazard combinations.
^*-> The bouquet, the wreath, and the garland, all depending for their beauty upon
the close massing of blossoms and greenery in luxurious confusion, bear no resemblance
whatever to the more austere and open compositions of the Japanese. The fact
that many of the most charming flowers of the country are those of trees, the
blossom-clad twigs of which it is impossible to arrange in closed and rounded masses,
may in some manner explain the open lineal character given to floral designs ;
but the same treatment is applied equally to flowering plants and grasses which
lend themselves far more easily to the European method of grouping. The peculiarity
of treatment noticeable in these flower arrangements is closely connected with the
Japanese manner of observing and enjoying floral nature. Whereas the Western
amateur devotes his attention mainly to the blossoms, the Japanese lover of flowers
bestows his admiration on the whole character of the plant or tree producing them.
The rugged nature of the plum trunk, with its straight, stiff shoots, or the graceful
sweep of the branches of the weeping cherry, are to him inseparably associated with
any beauty which the blossoms themselves possess. The lines of branch and stem,
the form and surfaces of leaves, and the distribution of buds and blossoms, all receive
their full share of attention. The loveliest buds and blossoms torn from their stems
and crushed together in a mass, with ferns or other greenery between them, convey
to the Japanese mind no idea of floral art or beauty. The art under consideration
is, in fact, based upon a representation, more or less conventional, of floral growth;
and, principally for this reason, the compositions are made to assume an open character
in which the individual forms of branches, stems, leaves, and flowers are all clearly
expressed.

22 ARRANGEMENT OF FLOWERS.

The Japanese term Hana, translated as Flower, has, in the art of floral arrange-
ment, a much wider signification than its English equivalent. Among the so-called
Flowers of the seasons are included certain evergreens and other flowerless shrubs and
trees, some of which hold very high floral rank. The Pine and Bamboo for example,
both occupy a very important place in what are called Flower Arrangements, and the
Maple with its reddening leaves is used as one of the principal Flowers of Autumn.

Seasonableness in the choice of material is one of the leading principles
which guide the designer. The luxurious taste for choiceness, as associated with the
idea of rarity, is diametrically opposed to the rules of the art under consideration.
Flowers blooming out of their proper season are, with very few exceptions, rejected
for floral compositions, which are intended, in a manner, to be expressive of the
particular period of the year. April blossoms, used in any other month, would appear
to the flower-artist as incongruous and out of place as would be winter clothing worn
in summer-time. It therefore naturally follows that a proper cultivation of the floral
art requires a thorough acquaintance with the nature and growth of all trees and
plants employed ; and even a close observation of the varying characteristics of the
same plant during different seasons, in the case of those which are common to several
months. The Flag or Iris, for example, which is common alike to certain months
of Spring, Summer, and Autumn, has a peculiar bend and vitality in its leaves, and
a different length and vigour in its flower stems, at the various periods of its growth ;
and these distinctions are all kept in view when employing this flower in compositions.

The natural locality of production of trees and plants, whether it be mountain,
moor, or lake or river bank, greatly influences the character of the design used. To
arrange a water plant in the same manner and with the same feeling and surroundings
as a land plant would be considered a great violation of the rules of appropriateness.
Not only are blossoming trees and flowering plants treated as perfectly distinct in
character, but minor divisions as to locality of production are often observed in both.
Among plants a distinction is made between ordinary land plants, forest plants,
mountain plants, and water plants ; and among trees, land trees, forest trees, and
mountain trees are distinguished in some cases.

The imperative necessity for a proper familiarity with the nature of all
flowers used in compositions is one reason why it is forbidden to employ those of
rare or little known plants, however beautiful they may be. The use of wild flowers,
only known to the botanist, as well as rare or foreign flowers with the names of

INTRODUCTION. 23

which ordinary folk are not familiar, is prohibited, unless the arranger has previously
made himself perfectly acquainted with all the natural characteristics of such flowers.
As one exponent of the art has quaintly expressed it, the artist must be thoroughly
imbued with a sympathetic feeling for the character, habits, virtues, and weaknesses
of the members of the floral kingdom from which he seeks his material, till he
possesses almost the same love and tenderness for their qualities as for those of living
beings.

Preliminary to a study of Japanese Floral Arrangements some acquaintance
with the principal flowers employed is necessary. These flowers are enumerated in
the following pages under the heads of the different months to which they belong,
and consequently many flowers which are common to several months are repeated.
It must be remembered that according to the old calendar the commencement of
the first month, which was at the same time the beginning of the Japanese Spring,
was about thirty days later than the present first of January. The change of the
calendar has therefore rendered it impossible to conform at the present day to all
the rules laid down for the selection of flowers for special occasions. Such of the
old fete-days as are now observed, being pushed back one month or more in time, the
flowers originally fixed as appropriate for their celebration are often unavailable, or
recourse has to be made to premature or forced specimens. The following classi-
fication is according to the old calendar, which ruled when the whole theory of
the art in question was established.

t.

FLOWERS ACCORDING TO THEIR MONTHS

(OLD CALENDAR).

ist MONTH (PRESENT FEBRUARY).

Japanese Name. Botanical Name.

*Fu!-u;u so

§Suisen

*Uguisu-so

•Hakubai

§Yanagi

§Kan-giku

•Yabu-koji

Adonis amurensis
Narcissus Tazetta
Lithospermum Zollingeri
Prunus mums
Salix japonica
Pyrethrum sinense .

Ardisia japonica

English popular

Japanese N

\ME.

Botanical Name.

English popular
Name.

Name.

•Rengio

Forsythia suspensa

Narcissus

Tsubaki

Camellia japonica

Camellia

*Murozaki-M

omo

Hot-house Peach

White Plum

•Obai

Jasminum Sieboldianum

Willow

•Kinsenkwa

Calendula officinalis

Winter Chrysan-

•Choshun

Rosa indica

themum

•Mansaku

Hamamelis japonica

| §Robai

Chimonanthus fragrans

Chinese Plum

2nd MONTH (PRESENT MARCH).

Japanese Name. Botanical Name.

♦Hakubai

'Hi to

{Obai

»Ko bai

•Higan-zakura

*Usu-to

•Niwatoko

•Kcman-so

f Azuma-giku

{Kinsenkwa

fHaru-giku

"Hotei-chiku

English popular
Name.
White Plum
Red Peach

Pale Peach

Prunus mume flore alba

Jasminum Sieboldianum

Prunus mume flore rosa

Prunus subhirtella

Prunus persica

Sambucus racemosa

Dicentra spectabilis

Erigeron Thunbergii

Calendula officinalis

Chrysanthemum coronarium Spring Chrysan-
themum

Bambusa sterilis

Japanese Name. Botanical Name.

•Tennan-sho

fOka-kohone

*Rengio

*Anzu

fHitoye-zakura

jYamabuki

*Hitsuji-so

•Niwa-ume

•Wase-zakura

*Niwa-zakura

fEnishida

tMoku-renge

Arisamia japonicum
Nuphar japonicum
Forsythia suspensa
Prunus armeniaca

Prunus pseudo-cerasus
Kerria japonica

Nymphsea tetragona

Prunus japonica

Prunus pseudo-cerasus

Prunus pseudo-cerasus

Cytisus scoporius

Magnolia

English popular
Name.

Apricot
Single Cherry

Garden Plum
Early Cherry
Garden Cherry

Magnolia

26

ARRANGEMENT OF FLOWERS.

Japanese Name. Botanical Name.

f Suwo
fYobai-kwa

•Shakunage

■jTsutsuji

fKaido

{Obai

*Baran

"Bijin-so

JUguisu-so

4 Yuki wari-so

*Kara-omodaka

*Shun-ran

"Kobushi

§Tsubaki

Cassalpinia Sappan
Myrica rubra

Rhododendron Metternichii
Rhododendron indicum
Pyrus spectabilis
Jasminum Sieboldianum
Aspidistra Iurida
Papaver rhceas
Lithospermum Zollingeri
Anemone hepatica
Alisma plantago
Cymbidium virens
Magnolia kobus
Camellia japonica

1NGLISH POPULAR

Japanese Name

Botanical Name.

English popular

Name.

Name.

fNashi

Pyrus ussuriensis

Pear

'Sumomo

Pyrus triflora

Azalea

*Rir.go

Pyrus malus

Apple

Azalea

*Asebo

Andromeda japonica

*Sendai-hagi

Thermopsis fabacea

*Korai-giku

Corean Chrysan-
themum

tBoke

Pyrus japonica

JMansaku

Hamamelis japonica

•Choshun

Rosa indica

*Wasure-gusa

Hemerocallis flava

*Ita-dori

Polygonum cuspidatum

Magnolia

"Sumire

Viola Patrinii

Camellia

♦Uikio

Fceniculum vulgare

3rd MONTH (PRESENT APRIL).

Japanese Name

Botanical Name

English popular
Name.

Japanese Name

Botanical Name.

English popular

Name.

"Haku-to

Prunus persica flore

alba

White Peach

Shakunage

Rhododendron Metternichii

Azalea

'Usu-to

Pink Peach

Yamamomo

Myrica rubra

Nojiro-momo

Peach

Asebo

Andromeda japonica

Hi-to

Prunus persica

Red Peach

Sendai-hagi

Thermopsis fabacea

Nora-momo

Peach

•Fuji-kazura

Hosumomo

Peach

fShakuyaku

Poeonia albiflora

Peony

Ko to

Prunus persica flore

rosa

Red Peach

] Kakitsubata

Iris laevigata

Iris

Gempeimomo

Red and White
Peach

*Azami
*Ayame

Argemone mexicana
Iris sibirica

Iris

Rito

Prunus trifiora

*Karamatsu-so

Thalictrum aquilegifolium

•Nashi

Pyrus ussuriensis

Pear

fTessen

Clematis florida

Clematis

'Ringo

Pyrus malus

Apple

JWasure-gusa

Hermerocallis flava

'Vamabuki

Kerria japonica

"Togiri

Clerodendron squamatum

Rengio

Forsythia suspensa

•Keshi

Papaver somniferum

Kobushi

Magnolia kobus

Magnolia

iKodemari

Spir.ua cantoniensis

Anzu

Prunus armeniaca

Apricot

•Ippatsu

his tectorum

Iris

Haru-giku

Chrysanthemum coronarium

Spring Chrysan-
themum

*Shaga

Iris japonica

Iris

fBotan

Pieonia moutan

Tree Peony

Jinchoke

Daphne odora

Daphne

Ebine-so

Calanthe discolor

Kind of Orchid

"Avvamori-so
*Kazaguruma

Astilbe japonica
Clematis patens

Clematis

Kome-zakura

Spira;a Thunbergii

Bletia hyacinthina

Niwa-zakura

Prunus pseudo-cerasus

Garden Cherry

•Choshun

Rosa indica

Suwo

Caesalpina Sappan

•Suzuran

Convallaria majalis

Wasezukura

Prunus pseudo-cerasus

Early Cherry

Korai-giku

Corean Chrysan-
themum

*Tsurigane-so
Konniaku

Campanula punctata
Conophallus konjak

Bluebell

Mokuren

Magnolia

Magnolia

Enishida

Cytisus scoporius

FLOWERS ACCORDING TO THEIR MONTHS.

27

Japanese Name. Botanical Name.

Ki-fuji Wistaria chinensis

Fuji matsu Larix leptolepis

English popular

Name.
Yellow wistaria

se Name. Botanical Name.

Sumirc

Taraxacum officinale
Viola patrinii

I

Name.

4th MONTH (PRESENT MAY1

Japanese Name

Botanical Name.

English

POPULAR

Japanese Name.

Name.

Kiku

Chrysanthemum coronarium

Chrysar

themum

\ Enishida

Kuchinashi

Gardenia florida

| Hama-nadeshiko

Sakaki

Cleyera japonica

{Tsurigane so

Azami

Cnicus japonicus

•Biyo riu

Tochi-so

Clintonia udensis

{Kodemari

Akaza

Chenopodium album

JSuwo

"Kakitsubata

Iris laevigata

Iris

§Kobushi

•Botan

Paeonia moutan

Tree Peony

JShaga

JAyame

Iris sibirica

Iris

♦Mokuren

§Ippatsu

Iris tectorum

Iris

"Shimotsuke

*Omoto

Rhodea japonica

*Sendai hagf

•Kusa-aoi

Althaee rosea

J Shiran

•Shakuyaku

Paeonia albifiora

Peony

*Teppo yuri

Utsugi

Deutzia Sieboldiana

•Sasa-yuri

•Yuri

Lilium

Lily

•Hime-yuri

fZakuro

Punica granatum

§ouzu-ran

"Sendan

Mclia azedarach

*Hankwai-so

Tsutsuji

Rhododendron indicum

Azalea

"Giboshi

"Hana-nanten

Nandina domestica

*Kumagaye-so

"Kirishima

Rhododendron obtusum

Atsumori-so

§Kinsenkwa

Calendula officinalis

'Benkei-so

fKohone

Nuphar japonicum

*Hana-yu

*Tessen

Clematis florida

Clemat

s

"Kikoku

*Natsu-yuki

Deutzia Siebo'.diana

*Shuro

jKirin-so

Sedum kamtschaticum

•Koboku

*Bijin-so

Papavcr rhceas

*Tampopo

fFuto-i

Scirpus Iacustris

•Fuji kazura

Botanical N

Cytisus scoporius
Dianthus japonicus
Campanula punctata
Hypericum chinensc
bpira a cantoniensis
Caesalpinia Sappan
Magnolia kobus
Iris japonica
Magnolia conspicua
Spiraea japonica
Thermopsis fabacea
Bletia hyacinthina
Lilium longiflorum
Lilium japonicum
Lilium concolor
Convallaria majalis
Senecio japonicus
Funkia ovata
Cypripedium japonicum
Cypripedium macanthrum
Sedum erythrostictum
Citrus aurantium
Citrus fusca
Chamaerops excels!
Magnolia hvpoleuca
Taraxacum officinale

English popular
Name.

Magnolia

Iris

Magnolia

Lily
Lily
Lily

Magnolia

5th MONTH (PRESENT JUNE).

Japanese Name. Botanical Name. English popular

Name.
*Kiku Chrysanthemum coronarium Chrysanthemum

"Giboshi Funkia ovata

} Shiran Bletia hyacinthina

•Kuchinashi Gardenia florida

*Uki kusa Lemna minor

Japanese Name. Botanical X.me.

*Ajisai
*Tochi so
•Shimotsuke
*Natsu-yuki
•Mokko-kwa

Hydrangea hortensis
Clintonia udensis
Spiraea japonica
Deutzia Sieboldiana
Rosa Banksias

English popular
Name.
Hydrangea

28

ARRANGEMENT OE FLOWERS.

Japanese Name. Botanical Name.

JHime yuri

*3en-no

•Matatabi

"Zakuro

JBiyo-riu

JHana-nanten

JTessen

{Kiri-shima

•Satsuki

•Kirin-so

•Natsu-zukashi

*Kingin-k\va

•Nadeshiko

•Kawara-nade-
shiko

JTeppo-yuri

JSasa yuri

J Hankwai so

JBenkei so

•Kuma-yanagi

•Kohone

Lilium concolor
Lychnis senno
Actinidia polygama
Punica granatum
Hj-pericum chinense
Nandina domestica
Clematis florida
Rhododendron obtusum
Rhododendron macranthum
Sedum kamtschaticum
Lilium Thunbergianum
Goodyera parviflora
Dianthus superbus

Dianthus superbus
Lilium longiflorum
Lilium japonicum
Senecio japonicus
Sedum erythrosticum
Berchemia racemosa
Nuphar japonicum

English popular

Japanese Name

Botanical Name.

English pofulak

Name.

Name.

Lily-

•Sakaki

Cleyera japonica

•Kodemari

Spirrea cantoniensis

"Kwaku so

Phajus grandiflorus

*Futo-i

Scirpus lacustris

•Hoso-i

Juncus communis

•Sankaku-i

Scirpus lacustris

Clematis

*Kayatsuri-gusa

Cyperus iria

Azalea

'Sendan

Melia azedarach

Azalea

•Ilana-shobu

Iris laevigata

Flag

•Kusa-ayams

Iris sibirica

Wild Iris

Lily-

'Mankeishi

Vitex trifolia

•Nichi-nichi-so

Vinca rosea

•Kokwa

Carthamus tinctorius

JOmoto

Rhodea japonica

JKakitsubata

Iris laevigata

Iris

Lily

*Hakucho-ke

Serissa fcetida

Lily

•Kwannon-so

Reineckia carnea

•Kurumi

Juglans regia

•Ochi

Melia japonica

J Koboku

Magnolia hypoleuca

Magnolia

6th MONTH (PRESENT JULY).

Japanese Name. Botanical Name.

JKiku

JHana-nanten

JOmoto

"Ran

JOshiroi-bana

*Seki chiku

•Hishi

JHakucho-ke

•Nadeshiko

*Hasu

fHi-ogi

JGiboshi

*Kuzu

•Tora-no o

•Kikio

•Tsuta

•Gampi

* Senno

•Kazaguruma

•Sakaki

Kind of Br.mlco

English popular
Name.

Chrysanthemum coronarium Chrysanthemum
Nandina domestica
Rhodea japonica

Orchid
Mirabilis jalapa
Dianthus chinensis
Trapa bispinosa
Serissa fcetida
Dianthus superbus
Nelumbium speciosum
Pardanthus chinensis
Funkia ovata
Pueraria Thunbergiana
Lysimachia clethroides
Platycodon grandifiorum
Vitis inconstans
Lychnis grandifiora
Lychnis senno
Clematis patens
Cleyera japonica

Ivy

Japanese Name. Botanical Name.

English popular
Name.

*Mizu-aoi

'Oguruma

'Mokuge

*Nozen kwa

JKirin so

JBenkei-so

fMedo hagi

'Asagao

•Hiru-gao

•Yu-gao

'Kohone

) Kakitsubata

'Kawara-nade-

shiko

J Futo i

JIIoso i

JSankaku i

'Anja

f Shiu-kaido

fOtogiri-so

Monochoria vaginalis
Inula biitannica
Hibiscus syriacus
Tecoma grandiflora
S;dum kamtschaticum
Sedum erythrosticum
Lespedeza sericea
Ipomsea hederacea
Convolvulus japonicus

Nuphar japonicum
Iris Iasvigata

Dianthus superbus
Scirpus lacustris
Juncus communis
Scirpus lacustris
Dianthus Caryophyllus
Begonia evansiana
Hypericum erectum

Morning Glory

Convolvulus

Convolvulus

FLOWERS ACCORDING TO Til HI k MONTHS.

29

Japanese Name. Botanical Name.

JOmodaka

JzTakuro

JSanzashi

•Manjusake

•Sendan

'Mankeishi

JK\vannon-so

Alisma plantago
Punica granatum
Crataegus cuncata
Nerine japonica
Melia azedarach
Vitex trifolia

English popular

Japanese Name

Botanical N

English popular

Name.

Name.

'Natsu-tsubaki

Stuartia pseudo-camellia

•O-yuri

Lilium

Lily

JSasa-yuri

Lilium japonicum

Lily

JTeppoyuri

Lilium longiflorum

Lily

Jllime yuri

Lilium concolor

Lily

JNatsu-zukashi

Lilium Thunbergianum

Lily

•Itadori

Polygonum cuspidatum

7th MONTH (PRESENT AUGUST).

Japanese Name. Botanical Name

JKiku

"Kikio

J Ran

'Gampi

JMokuge

JTsuta

*Sennichi-so

•Medo-hagi

JHasu

JOguruma

•Senrio

*Kuzu

•Ominayeshi

JAsagao

•Hishi

JYu-gao

JHiru-gao

♦Hagi

JShiu kaido

jKohone

JFuto-i

JHoso i

JSankaku-i

JMizu-aoi

JOmodaka

English popular
Name.
Chrysanthemum coronarium Chrysanthemum
Platycodon grandiflorum

Lychnis grandiflora
Hibiscus syriacus
Vitis inconstans
Gomphrena globosa
Lespedeza sericea
Nelumbium speciosum
Inula britannica
Chloranthus brachystachys
Pueraria Thunbergiana
Patrinia scabiosa:folia
Ipomaea hederacea
Trapa bispinosa

Convolvulus japonicus
Lespedeza bicolor
Begonia Evansiana
Nuphar japonicum
Scirpus lacustris
Juncus communis
Scirpus lacustris
Monochoria vaginalis
Alisma Plantago

Orchid

Ivy

Convolvulus
Convolvulus

Japanese Name. Botanic:

JOtogiri-so
*Shion
•Keito
JSawa-gikio

* Hosen-kwa

* Fuj'O
•Ha-geito
JDandoku
JHi-ogi

* U kon
•Kichijo-so
•Kushide
JKakitsubata
•Tori-kabuto
J Manjusake

J Mankeishi

JBenkei-so

JHakuchoke

JK\vannon-so

•Riukiu-giku

JAoi

"Tsuru-modoki

JAnja

JNadeshiko

*Ka\vara-nade-
shiko

Hypericum ercctum
Aster tartaricus
Celosia argentea
Lobelia sessilifolia
Impatiens balsamina
Hibiscus mutabilis
Amaranthus melancholicus
Canna indica
Pardanthus chinensis
Curcuma longa
Reineckia carnea
Rhus semi-alata
Iris kevigata
Aconitum Fischeri
Lycoris radiata.
Vitex trifolia
Sedurn erythrcstictum
Serissa fcetida
Reineckia carnea

Althaea rosea
Celastrus articulatus
Dianthus caryophyllus
Dianthus superbus

Dianthus superbus

English popular
Name.

Chrysanthemum

Sth MONTH (PRESENT SEPTEMBER).

Japanese Name. Botanical Name. English popular

Name.
JKiku Chrysanthemum coronarium Chrysanthemum

JSusuki Eularia japonica

JHasu Nelumbium speciosum

Japanese Name. Botanical Name.

JTsuta
'Hagi
•Ogi

Vitis inconstans
Lespedeza bicolor

English popular

N 1MB.

Ivy

Kind of Reed

30

ARRANGEMENT OF FLOWERS.

Japanese Name. Botanical Name.

JKakitsubata
"Shion
fYukinoshita
•Fujibakama
* No-giku

JHosen-kwa

JFuyo

*IIi mawari

JKeito

JOminayeshi

"Otokoyeshi

•Tori-kabuto

JTsuru-modoki

•Ume-modoki

JMokuge

•Gan-rai-ko

•Karukaya

•Rindo

•Uzura-gusa

Iris laevigata
Aster tataricus
Saxifraga sarmentosa
Eupatorium chinense

Impatiens balsamina
Hibiscus mutabilis
Helianthus r.nnuus
Celosia argentea
Patrinia scabiossefolia
Fatrinia scabiosaefolia alba
Aconitum Fischeri
Celastrus articulatus
Ilex Sieboldi
Hibiscus syriacus
Amaranthus melancholicus
Anthistiria arguens
Gentiana scabra

English popular
Name.
Iris
Aster

Wild Chrysan-
themum

Sunflower

Kind of Grass

Japanese Name. Botanical Name.

*Hassaku-bai

*Usu momiji

JSanzashi

•Hama-giku

'Waremoko

"Okina-gusa

•Medohagi

JSawa-gikio

*Sennichi-so

JMizu-aoi

JKohone

•Nishiki-bana

JBenkei-so

JK\vannon-so

JUkon

JKichijo so

*Kushide

JRiukiu-giku

JKakitsubata

JNishikigi

Acer palmatum
Crataegus cuneata
Chrysanthemum nipponicum
Poterium officinale
Anemone cernua
Lespedeza sericea
Lobelia sessilifolia
Gomphrena globosa
Monochoria vaginalis
Nuphar japonicum
Euonymus alatus
Sedum erythrosticum

Curcuma longa
Reineckia carnea
Rhus semi-alata

Iris laevigata
Euonymus alatus

English popular

Name.

Autumn Plum

Kind of Maple

Chrysanthemum
Iris

9th MONTH (PRESENT OCTOBER).

Japanese Name. Botanical Name.

English popular

Name.

•Kiku

Chrysanthemum coronarium

Chrysanthemum

J Hama-giku

•Nanten

Nandina domestica

•Sanzashi

•Omoto

Rhodea japonica

JOminayeshi

JHagi

Lespedeza bicolor

JOtokoyeshi

JUme modoki

Ilex Sieboldi

*Kocho-ke

*Tsuiu-modoki

Celastrus articulatus

•Shikizaki

JOgi

Kind of Reed

*Kabuto-giku

{Rindo

Gentiana scabra

•Mizuhiki

fSuisen

Narcissus tazetta

Narcissus

J Fujibakama

•Susuki

Eularia japonica

*Yuki-no shita

f Sawa-gikio

Lobelia sessilifolia

•Waremoko

*Tsu\va buki

Senecio Ksmpferi

JMedohagi

*Cha-no-hana

Camellia thei'fera

Tea Plant

•No-giku

•Yatsude

Fatsia japonica

•Sazankwa

Camellia sasanqua

Camellia

•Uzura-gusa

•Tsuta

Vitis inconstans

Ivy

JRiukiu-giku

•Biwa

Photinia japonica

JKohone

•Shion

Aster tartaricus

Aster

]Koyo-mono

*Kakitsubata

Iris laevigata

Iris

\ Yanagi-no-ru

J Karukaya

Anthistiria arguens

•Nishikigi

Japanese Name. Botanical Name.

English popular
Name.
Chrysanthemum nipponica Chrysanthemum
Crataegus cuneata
Patrinia scabioscefolia
Patrinia scabiosaefolia alba

General term for flowers blooming in all four
seasons

Aconitum Fischeri
Polygonum filiforme
Eupatorium chinense
Saxifraga sarmentosa
Poterium officinale
Lespedeza sericea

Wild Chrysan-
themum

Kind of Grass

Chrysanthemum

Nuphar japonicum

General term for trees the leaves of which
redden in the Autumn

Trees of the Willow kind

Euonymus alatus

FLOWERS ACCORDING TO THEIR MONTHS.

3i

10th MONTH (PRESENT NOVEMBER).

Japanese Name. Botanical Name,

§Zan-giku

•Suisen
•Kan giku

§Sanzashi
*Cha no-hana
*Biwa
§Nanten
•Omoto
*Neko-yanagi
§Tsuwa-buki
Kocho-ke

Narcissus tazetta
Pyrethmum sinense

Crataegus cuneata
Camellia thei'fera
Photinia japonica
Nandina domestica
Rhodea japonica
Salix brachystacliys
Senecio Ktempferi

English popui ad

N AMI .

Late Chrysan-
thcmum

Winter Chrysan-
themum

Kind of Willow

IE Name. Botanical

'Koyo mono

'Nebuka-so

*Yuki no-shita

•Yatsu de

* Karukaya

JRindo

ill lya aki-
Tsubaki

fToji-bai

English poplxar
Name.

General term for flowers blooming in all four
seasons

General term for trees the leaves of which turn
red in the Autumn

Allium fistulosum

Saxifraga sarmentosa

Fatsia japonica

Anthistiria arguens

Gentiana scabra

Camellia japonica
Prunus mume

•Jugwatsu zakura Prunus pseudo-cerasus

Early Camellia

Early Plum

Tenth Mon'.h
Cherry

nth MONTH (PRESENT DECEMBER).

Japanese Name. Botanical Name.

•Kan-giku

*Suisen

♦Nanten

§Omoto

{Neko-yanagi

fToji-bai

Narcissus tazetta
Nandina domestica
Rhodea japonica
Salix brachystachys
Prunus mume

JJugwatsu zakura Prunus pseudo-cerasus
JBiwa Photinia japonica

English popular
Name.

Winter Chrysan-
themum

Tenth Month
Cherry

English popular
Name.

General term for trees the leaves of which turn
red in the Autumn

Japanese Name. Botanical Name.

* Koyo mono

J Kocho ke
f Kan-botan
JSazankwa
{Yatsu-de
f Tsubaki
*Shikizaki

P:eonia moutan Winter Peor.y

Camellia Sasanqua Camellia

Fatsia japonica

Camellia japonica Camellia

General term for flowers blooming in all four
seasons

1 2th MONTH (PRESENT JANUARY).

Japanese Name. Botanical Name.
fKangiku

JSuisen Narcissus tazetta

*Kan-botan Psonia moutan

{Nanten Nandina domestica

J Omoto Rhodea japonica
fMurozaki momo

f Haku-bai Prunus mume flore alba

•Tsubaki Camellia japonica

English popular
Name.

Winter Chrysan-
themum

Narcissus

Winter Peony

Forced Peach

Japanese Name. Botanical Name. English popular

Name.

{ Yanagi-no-rui Various kinds of Willow

*Ro-bai Chimonanthus fragrans

■fKinsenkwa Calendula officinalis

f Kocho-ke

\Koyo-norui Various trees the leaves of which redden in

the Autumn

\Shikizaki Flowers blooming in all four seasons

fRengio Forsythia suspensa

32

ARRANGEMENT OE FLOWERS.

Against the Japanese names in the above list of flowers certain signs are placed to indicate the
following distinctions : —

* Stands for those trees or plants which are termed Living Flowers, being particularly characteristic
of the month under which they are placed. Such flowers are much prized for felicitous occasions.

t Distinguishes the Early Flowerings,— flowers which are in advance of their proper season in the
month under which they are placed. These have also their appropriate use in floral compositions.

J Indicates what are called Passed Flowers, and § stands for what are termed Dead Flowers. These
names have reference to flowers which are late or passed in month or season, belonging properly to earlier
months. The use of such flowers is forbidden for most ceremonial occasions. There exists also the term
Vulgar Flowers, applied to wild plants, or to those of very common character which possess no fancy name ;
and the employment of flowers included under this head is not permitted except in the hands of the most
experienced professors of the art. The use of cereals is also to be avoided.

Considerations of good or evil luck enter largely into the choice of flowers,
for floral arrangements, especially when employed as decorations for occasions of
rejoicing ; and there are certain flowering plants and trees reputed to possess
poisonous properties in their roots, stems, leaves, or blossoms, the use of which is
objected to at any time, their employment being considered unlucky and ominous.
The following is a list of the principal of such poisonous flowers : —

OMINOUS FLOWERS.

Japanese Name. Botanical Name.
Mochi-tsutsuji

Yaye-kwanzo

Manjusake

Hana-suwo

Goji-kwa

Nozen-kazura

Yama-ajisai

Hosen-kwa

Miyama-shikimi

Hito-keshi

Yatsu-de

Rhododendron Iedifo
Hum

Hemerocallia fulva

Nerine japonica
Cercis chinensis
Pentapetes phoenicea
Tecoma grandiflora
Hydrangea hirta
Impatiens balsamina
Skimmia japonica

Fatsia japonica

Note.

The white flower species
is not poisonous

Single flower species not
poisonous

Leaves are poisonous

Flower poisonous

Highly poisonous

Tendrils poisonous

Root poisonous

Leaves poisonous

Leaves poisonous

Strongly poisonous

Root poisonous

Japanese Name. Botanical Name.

Asebo
Yamagobo

Tori-kabuto
Karasu-ogi

Andromeda japonica

Rhaponticum atriplici
folium

Aconitum Fischeri

Rumex aquaticus

Inu-kusu Machilus Thunbergii

Tachimachi-gusa Aconitum lycoctonum

Giboshi Funkia ovata

Yama-nasubi Datura alba

Konniaku Arisaema japonica

Kusagi Clerodendron tricho-
tomum

Note.
Stem poisonous
Red kind poisonous

Root poisonous

Stem said to be poison-
ous

Root poisonous

Very poisonous

Flower poisonous

Very poisonous

Root poisonous

Leaves poisonous

FLOWERS ACCORDING TO THEIR MONTHS.

33

In addition to the last named, all flowers having a strong odour are
considered unsuitable for placing before guests.

Among the flowers peculiar to the different months, as previously classified,
some are considered specially appropriate for displaying upon felicitous occasions, whilst
others, though used at ordinary times, are interdicted for such important occasions.

As most of these flowers are to be found enumerated in the complete tables
already given, the following classification is abbreviated, merely giving the Japanese
names and the corresponding name in English, botanical names being printed only
where no English equivalent exists. It may be observed that this list includes in
all twenty-four species of plants and trees, and if different species of the same
genera be classed together, the number of specially honoured flowers becomes reduced
to fifteen : —

FLOWERS SUITABLE FOR FELICITOUS OCCASIONS.

ist MONTH

Fukuju-so

Yabu-koji

Haku-bai

Yanagi

Omoto

Choshun

Sho-chiku-bai

(PRESENT FEBRUARY).

Adonis amurensis

A rdisiajaponica

White Plum

Willow

Rhodeajaponica

Rosa indica

Combination of Pine,
Bamboo, and Plum.

Momo
Haru-giku
Omoto
Choshun

4th

Botan

Shakuyaku

Moso-chiku

Omoto

Choshun

Kiku

5th

Kiku
Omoto
Moso-chiku
Choshun

Peach

Spring Chrysanthemum

Rhodeajaponica

Rosa indica

MONTH

(PRESENT MAY).
Tree Peony

2nd MON"

Momo
Yanagi
Ko-bai

•H

(PRESENT MARCH).

Peach

Willow

Red Plum

Rhodeajaponica

Spring Chrysanthemum

Rosa indica

Peony
Bamboo

Rhodea japonica
Rosa indica
Chrysanthemum

Omoto

Haru-giku

Choshun

MONTH

(PRESENT JUNE).

3rd MONTH

Sakura

(PRESENT APRIL).

Cherrv

Chrysanthemum
Rhodeajaponica
Bamboo
Rosa indica

34

ARRANGEMENT OF FLOWERS.

Kiku
Omoto

Nanten
Choshun

6th MONTH (PRESENT JULY).

Chrysanthemum

Rhodea japonica
Nandina domestica
Rosa indica

7th MONTH (PRESENT AUGUST).

Kiku
Omoto
Choshun
Nanten

Chrysanthemum
Rhodea joponica
Rosa indica
Nandina domestica

8th MONTH (PRESENT SEPTEMBR).

Kiku

Omoto

Hassaku-bai

Nanten

Choshun

Chrysanthemum
Rhodea japonica
Autumn Plum
Nandina domestica
Rosa indica

gth MONTH (PRESENT OCTOBER).

Kiku

Omoto

Nanten

Choshun

Suisen

Yanagi

Chrysanthemum
Rhodea japonica
Nandina domestica
Rosa indica
Narcissus
Willow

ioth MONTH (PRESENT NOVEMBER).

Zan-giku

Suisen

Omoto

Nanten

Choshun

Yanagi

Chrysanthemum
Narcissus
Rhodea japonica
Nandina domestica
Rosa indica
Willow

nth MONTH (PRESENT DECEMBER).

Suisen

Kan-giku

Omoto

Yanagi

Nanten

Toji-bai

Choshun

Yaye-tsubaki

Narcissus

Winter Chrysanthemum

Rhodea japonica

Willow

Nandina domestica

Early Plum

Rosa indica

Double Camellia

1 2th MONTH (PRESENT JANUARY).

Suisen

Kan-giku

Yanagi

Omoto

Haku-bai

Murozaki-momo

Choshun

Tsubaki

Narcissus

Winter Chrysanthemum

Willow I

Rhodea japonica

White Plum

Forced Peach

Rosa indica

Camellia

The following list of flowers, the use of which is prohibited for special
occasions of ceremony or congratulation, is arranged without regard to the months
to which they belong. The employment of such flowers is deprecated at any
season, without reference to any particular month, unless no other flowers can
possibly be obtained. The reasons for their rejection are not always clear; sometimes
the objection is to the form, sometimes to the colour, occasionally to some supposed

FLOWERS ACCORDING TO THEIR MONTHS.

35

poisonous property, and often to what seems little more than traditional superstition or
caprice. It is not surprising therefore to find these rules disregarded at tunes by
certain masters : —

FLOWERS PROHIBITED FOR FELICITOUS OCCASIONS.

Ito-zusuki

Eularla japonica

Nashi

Shion

Aster

Kanzo

Basho

Musa Basjoo

Fuyo

Shinobu

Kawara-nadeshiko

Ogi

Hagi

Dnvallia bullata
Dianthus supcrbiis
Kind of Reed
Lcspedeza bicolor

Renge

Hototo^isu-so
Mokuren
Cha-no-hana

Fujibakama
Tsutsuji

Eupatorium chinense
Azalea

Ran
Dandoku

N iwatoko

Sambncus raccmosa

Rengio

Miyama-shikimi

Skimmia japonica

Yoshi

Himuro

Thuya squamosa

Ashi

Karatake

Keito

Hiro-gashiwa

Chinese Bamboo
Cclosia argentea
Large-leafed Oak

Rindo

Awayuki

Shakunage

Karukaya

Anthistiria arguens

Kuchi-nashi

Jincho ke

Daphne odora

Asa-gao

Hashibami

Corylus hctcrophylla

Giboshi

Hiaku-jikko

Lagerstramia indica

Hi-ogi

Zakuro

Punica granatum

Ume-modok

Mokuge
Mitsu-mata

Hibiscus syriacus
Edgeworthia papyri/era

Yama-nashi
Kohone

Hosen-kwa
Kokwa

Impaticns balsamina
Carthamus tinctoriiis

Hinoki
Yatsude

Keshi

Papavcr soinnijcrum

Ajisai

Pyrin ussuriensis
Hemerocullis flava

Hibiscus mutabilis

Lotus

Tricyrtis japonica

Magnolia

Camellia thcifcra

Orchid

Canna indica

Forsylhia suspensa

Phragmitis communis

Phragmitis communis

Gentiana scabra

Gnaphalium SicbolJiaui

Rhododendron

Gardenia forida

Ipomaa hederacca

Funkia ovata

Pardanthus chinensis

Ilex Sicboldi

S mi lax bijlora

Nuphar japomcum

Thuya obtnsa

Fatsia japonica

Hydrangea horlensis

Ranking highest in the above list of felicitous flowers, the following seven
are considered as par excellence those for ceremonies and congratulatory occasions :-

The Kiku, or Chrysanthemum, to which is given the fancy name Choju-so,
meaning Long-lasting Plant, on account of its growing through all the four seasons.

The Suisen, or Narcissus, called by the fancy name of Inyo-so, or Plant of the
Two Sexes, because it comes in the Winter and lasts till the Spring of the following
year.

36

ARRANGEMENT OF FLOWERS.

The Momiji, or Maple, fancifully called Doknge-so or Poison-dispelling Plant,
because there is an idea that it absorbs all poison and infection from the air.

The Saknra, or Cherry, regarded in Japan as the king of flowers.

The Botan, or Tree Pecny, fancifully named Fitki-gnsa, meaning Plant of
Wealth and High Rank. In China the Peony is said to be the queen of flowers.

The Onioto, or Rhodea japonica, much honoured because, unaffected by heat
or cold, its leaf remains strong and green throughout the year.

The Fuji, or Wistaria, fancifully called Niki-so, meaning Plant of the Tico
Seasons, because, appearing between the third and fourth months, it belongs both to
Spring and Summer. Though much honoured and used for felicitous occasions, the
Wistaria must not be employed at weddings on account of its purple colour.

In addition to the above seven flowers, the Kakitsubata (Iris laevigata) also
takes high rank, but on account of its purple colour is, like the Wistaria, prohibited
for wedding ceremonies.

Hitherto attention has been directed to the principal flowering plants and
trees of the country, and to the degree of esteem in which they are individually
regarded, especially with reference to particular months. But many floral compo-
sitions consist of combinations of two or more different kinds of growth. The
manner in which different species are thus combined is best explained when the
whole theory of the Japanese methods of arrangement is discussed in a later chapter.
But apart from the manner of grouping them, there are certain prejudices in favour
of and against different combinations of material which require mention in the
present context. The following is a list of a few of the suitable and unsuitable
combinations of flowers : —

APPROPRIATE COMBINATIONS.

Matsu (Pine)
Matsu (Pine)
Yanagi (Willow)

Momiji (Maple)

Tsiibaki (Camellia)

with Chosliun (Rosa indica)

with Kiku (Chrysanthemum)

with Suiscn (Narcissus)

with A";i'M(Chrysanthemiim, white
or yellow)

with Suiscn (Narcissus)

Ume-modoki (Ilex Siebokii)
Uaran (Orchid)

with Suiscn (Narcissus)

with Nadcshiko (Dianthus super-
bus)

Tokusa (Equisetum hyemale) with Scnuo (Lychnis senno)

Haku-bai (White Plum)

witli Kinscnkiva (Calendula offi-
cinalis)

FLOWERS ACCORDING TO THEIR MONTHS.

37

Mmiii) (Peach)

Futo-i (Scirpus lacustris)

Kohonc (Nuphar j.iponicum) or

with Yamabuki (Kerria japonica) I Take (Bamboo)

with Asagao (Morning Glory)

with Kakitsubata (Iris laevigata) Nanten (Nandina domestica) with Shira Chrysan-

themum) or Suisen (Nar-
cissus)

OBJECTIONABLE COMBINATIONS.

Kashiuia (Oak)

Take (Bamboo)

Ume (Plum)

N allien (Nandina domestica)

Enoki (Celtis sinensis)

Tsiibaki (Camsllia)

Matsu (Pine)

with Sliion (Aster)

with Sitsuki (Iiularia japonica)

with Yanagi (Willow)

with Take (Bamboo)

with Nadeshiko (Diantlius super-
bus)

with Kinsenkwa (Calendula offi-
cinalis)

with Zakuro (Punica Granatum)

Maki (Podocarpus macro-
pliylla)

Momo (Peach) with Sakura (Cherry)

Mala (Podocarpus macrophylla)- with Harau (Orchid)

Ilinolii (Thuya obtusa) with Haran (Orchid)

Shaga (Iris japonica) with Varan (Oi |

Omoto (Rhodea japonica)
or
Kolione (N'uphar japonicum)

All of the above combinations, good and bad, are of trees or plants which
are in bloom during the same month, and are therefore arrangements which are
practicable without violating the rules as to seasonableness. Those which are
classified as objectionable are so considered therefore for other reasons, which are
various. Sometimes too close a resemblance in form or colour is the reason of the
objection ; in other cases, similarity of species, or of locality of production, leading
to redundancy of expression in the composition, is the cause of the dislike. The
Peach and the Cherry, for example, being both flowering trees and somewhat similar
in character, are not considered suitable in combination.

HISTORY AND THEORY

J|||eFORE proceeding further with an explanation of the Floral Art, it may be
%SJ|of some interest to enquire into the origin of a cult so curiously unlike, in its

Sg|| methods, to any hitherto followed in Europe. Japanese historians claim for
^Hitan Indian and religious origin. The same Buddhist doctrine which deprecated
the wanton sacrifice of animal life is said to have suggested the gathering of flowers,
liable to rapid destruction in a tropical climate, and prolonging their life by careful
preservation. The survival of such a theory would seem to show that some form
of the art was first introduced into this country with the adoption of the Buddhist
faith, both as a part of its ritual (flowers being placed before the Buddhist spirits),
and also as forming a pious pastime for the priests. The religion of Buddha, as
is well known, reached Japan through China in the sixth century, and certain
Chinese priests are referred to as the first teachers of the art of arranging flowers
in Japan.. It also appears that the earliest native practitioners in this country were
famous priests, amongst whom Shotoku Taishi and Meikei Shonin are particularly
mentioned.

These primitive flower compositions were, however, of a more accidental and,
at the same time, of a more extravagant character than those of the art as it became
afterwards modified and developed. They partook more of the nature of a Western
bunch or nosegay, being crowded in arrangement and miscellaneous in substance,
and without the severe conventionality of later methods. The style of composition
adopted still survives under the name of Shin-no-hana, meaning Central Flower
Arrangement, and is used for flowers placed as religious ornaments or offerings
before shrines and tombs. An approach to symmetry was a governing feature of
such compositions, the designers not having yet developed that less formal kind of
balance discoverable in the modern style which is more in harmony with nature and
admits of endless variety of form. Branches of blossoming trees or foliage were

4o ARRANGEMENT OF FLOWERS.

employed in their natural state, without artificial bending or trimming, to form a
vertical central mass; and other flowers or bunches of foliage were disposed on either
side in balancing groups. The idea of imparting graceful and harmonious curves to
the different lines of the composition was as yet undeveloped. Unlike the later and
more refined flower arrangements, this early style was remarkable for the mixture of
a variety of different materials. The lines of a composition, distinguished by such
terms as centre, sub-centre, and support, were respectively formed of branches of
different growth, some of which were in full leaf or flower, and others purposely light
and sparse in character. Large leaves of other plants were used at the base or
connection of these various branches, to hide their bareness below, and careful
attention was given to the bends and curves of these leaves so as to reveal their
front and back surfaces in a well balanced contrast. Even in this comparatively
early form of the art, the proportion which the floral composition held to the vessel
which contained it, was fixed by rule, a practice which was followed in all later
arrangements. Various examples of the Central Flower Arrangement are shown in
Plates VII., VIIL, and IX.

Another early style of arrangement existed, suited to bread basin-like vessels,
and adapted to the employment of large stumps of trees in divided groups. Such
compositions revealed no attempt at symmetry, but resembled somewhat a kind of
miniature gardening. Heavy branched trunks of willow, pine, plum, maple, or other
favourite trees were grouped with divided spaces between, and sometimes with plants
or grasses, added at their base. An example of this style of arrangement may be
seen in Plate X.

So close was the connection between flower vessels and flower arrangements,
that the more modern development of the Floral Art was simultaneous with a great
fancy for ornamental vases of various kinds which sprang up under the patronage
of the famous Regent Yoshimasa, at Higashi-yama. The impetus given to 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 flowers. It was mainly with the object of
contributing to the Tea Ceremonial that the first modifications in the Flower Art took
place, and the chief reformers were the Chajin, or Professors of Tea. Sen no Rikiu,
i. 7 Sen^e, Sekishiu, and Enshiu, who were four of the principal flower designers of these
f^ and subsequent times, were among the most famous professors of the Tea Cere-
monial. But the affected simplicity which ruled the Tea Room did not give full

HISTORY AND THEORY. 41

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. Flower compositions,
as finally classified, are given different character and proportion according to the
special class of chamber which they adorn, or the particular rank of the person in
whose residence they are used.

The arrangement of flowers has always been regarded in Japan as an occu-
pation befitting learned men and literati. Ladies of the aristocracy have practised it,
as they have other arts, but it is by no means considered as an effeminate accomplish-
ment. Priests, philosophers, and men of rank who have retired from public life have
been its most enthusiastic followers.

Mixed up with the theory of the art, and imparting to it at first sight an
air of quaintness and mystery, is a considerable amount of Chinese philosophy, together
with many traditional superstitions. Ideas of good and evil luck control both the
selection of material and the manner of arrangement for special occasions. Various
virtues are attributed to professors of the art, who are considered to belong to
a sort of aristocracy of talent, enjoying privileges of rank and precedence in society
to which they are not by birth entitled. A religious spirit, self denial, gentleness,
and forgetfulness of cares, are some of the virtues said to follow from a habitual
practice of the art of arrangement flowers. Philosophical classifications are resorted
to for the purpose of distinguishing the different parts of floral designs. Thus Earth,
Heaven, and Mankind are names given by some Schools to the members of a tri-lineal
flower arrangement; Earth, Fire, Water, Metal, and Wood being used in the same
way to designate the parts of a five-lined design. Other Schools apply, in a similar
way, the names of abstract ideas, such as those of the five orders of Japanese versifi-
cation, or the virtues of the human heart. Such different methods of nomenclature
are numerous, and would appear to have been adopted by the different Schools
principally to impart an appearance of originality and mystery to their own particular
versions of one and the same art.

Again, the male and female principles of Chinese philosophy are constantly
applied to distinguish contrasting forms, surfaces, or colours in composition. It has
always been a favourite fancy of the Japanese to apply distinctions of sex to inanimate
nature. In landscape, and landscape-gardening, it is customary to discriminate between
male and female cascades, male and female plants and trees, and male and female rocks

42 ARRANGEMENT OF FLOWERS.

and stones. The distinction is not so much one of individual form as of forms
placed in combination or contrast, which are regarded as male or female in respect of
one another. Thus the main torrent of a waterfall is considered masculine, and the
lower fall in proximity is regarded as feminine. In like manner, rocks used in
gardening have no distinguishing sex, unless they are used in pairs or groups. In
the case of two stones of different character placed side by side, the one of bolder and
more vigorous shape will be called the male, and the ether will be called the female
stone. Curious as such fancies may seem, they are of considerable value when applied
to the art of design, their observance helping to produce that harmony of well balanced
contrasts which should pervade all compositions. Nor are such ideas, indeed, quite
foreign to Western art, in which, for example, it is common to attribute male and
female characteristics to the different orders of architecture.

In the Floral Art the idea of sex is applied to contrasting forms, as of long
and short, large and small, angular and round, as well as to different kinds of growth
and to various colours in combination. When a flowering tree is used in combination
with a plant, the tree is considered as male and the plant as female. With flowers,
buds are regarded as female, full flowers as male, and overblown flowers again are
classed as female ; the time of full vigour receives the male, and the periods of weakness
the female character. A similar fancy is applied to the different surfaces of leaves and
to the different colours of flowers. Among colours, Red, Purple, Pink, and variegated
colours are male; and Blue, Yellow, and White are female. The front surface of a
leaf is male, and its under surface is female. With flowers, the different forms of bud
and full blossom, and with leaves, the different surfaces lend themselves easily to such
distinctions; but berries seem to have defeated attempts at sexual classification, until
Enshiu, one of the masters of the Flower Art, after observing the bulbul bird pecking
at the fruit of a tree, devised the method of marking certain of the berries in a floral
composition as if pecked by birds, and thus imparting to them a dual character, — that
of square and round. The male and female principles are also applied to the different
directions of the stems of a composition, the right hand side and front of the design
being regarded as male, and the left hand and further side as female. A stem on
the left side of a composition turned to the front and back to the right is said to have
male character, while one on the right bent back to the left is said to have female
character.

In addition to sex, the different colours in flowers or leaves are said to have
order of rank. This idea of rank is applied principally to different colours of the same

t

HISTORY AND THEORY. 43

flower. In most cases the white flower of every species takes highest rank, hut there
are exceptions to this rule. The yellow Chrysanthemum takes precedence of those of
any other colour. With Peach blossoms, the pale pink colour ranks first, though
a rich red specimen exists. In 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 Valerians, yellow ; with Convolvuli, dark hlue ; with Kenias,
yellow ; with Kikios, light purple ; and with Lespedezas, pink.

As before mentioned, a number of different Schools of Flower Arrangement
sprang up from the time of the great art-patron, Yoshimasa. The styles of composition
practised by these different Schools are known as the Ko style, Enshitt style, Shinsho
style, Sekishiu style, Misho style, Kodo style, and Seizan style. To enter into the
peculiarities of these different styles would be almost like discussing some of the
more trivial differences of religious sects. The main principles of the art are the
same throughout. In the present work the Enshiu style has been chiefly followed, this
being the most elaborate and the most popular of the more modern styles, but
numerous examples have been taken from compositions of other Schools.

The Enshiu style was originated by a retainer of the Shogun Iyeyasu, called
Kobori Totomi no Kami. He was a distinguished professor of the Tea Ceremonial,
and became teacher of this accomplishment to the Shogun's heir, Iyemitsu. Com-
pared with some of the other styles, that of Enshiu is characterized by a greater
degree of artificiality or artistic affectation, and this makes it specially adapted for
the purposes of a thorough explanation of the principles of the art.

t*

PLATE VII.

EARLY STYLE OF FLOWER ARRANGEMENT (SHIN-NO-HANA).

»

»v

PLATE VIII.

ZZIA

EARLY STYLE OF FLOWER ARRANGEMENT (SHIN-NO-HANA).

PLATE IX.

EARLY STYLE OF FLOWER ARRANGEMENT (SHIN-NO-HANA).

'r

X

pq

<

ft.

.

'

LINEAL DISTRIBUTION

tN analysis of Tananese flower arrangements shows that the lines or dirtc-
tions taken hy the different stems or branches form the basis of all compo-
^^Tsitions. While European floral decorations are merely combinations of masses
*^*- of colour, in which blossoms and leaves alone play a part, those of Japan
are synthetic designs in line, in which every individual stem, flower, and leaf stands
out distinctly silhouetted. The treatment followed may be likened somewhat to the
methods employed of distributing carved foliage in architectural panels.

The surface of the water in which the flowers are placed is technically con-
sidered to be the soil from which the floral growth springs; and the designer must
here convey the impression of stability and strength. However good the upper lines
of the composition may be, a weak springing at the base deprives it of life and vigour;
for it must- be remembered that not flowers alone, but floral growth and vitality, are
to be expressed in the designs. The direction of the stems at starting need not be
strictly vertical, but, if curved, the curves employed should be strong ones, and all
weak bends and angles should be avoided. As a composition consists of several main
lines, there will be severall ines of springing, or origin. In some cases the springing
lines are all united from the surface of the water to some distance above, after which
they separate in tangental curves in different directions; in other cases, each stem-
line is kept distinct, being separated from the others from the point of origin.

In the distribution of the principal lines of the composition from the point
of their separation, the artist studiously avoids an equal-sided or symmetrical arrange-
ment, but he obtains a balance of a more subtle kind, which is at the same time
productive of a pleasing variety of form. Balance and harmony without repetition
is a governing principle in this as well as in other Japanese arts. The lines of each
stem, or, in cases where numerous slender stems are combined, the central lines of

46 ARRANGEMENT OF FLOWERS.

each group of stems, receive first attention. The triple arrangement, by which is
meant that governed by three prevailing lines, may be taken as the original model
for all arrangements (see Plate XI. a).

The three lines of such compositions may be called, with sufficient fidelity to
the more quaint native nomenclature, Principal, Secondary, and Tertiary. The Principal
line, as the name implies, is the central and longest line of the design, and this is
made to form a double curve with the upper and lower extremities nearly vertical and
in a continuous line, the general shape thus assumed being that of an archer's bow.
The Secondary line should be about half, and the Tertiary line about one quarter,
of the length of the Principal, supposing all to be straightened out; and these two
lines are arranged on different sides of the Principal in graceful double curves of varied
character. As a general rule, the Secondary line has a more vertical, and the Tertiary
line a more lateral tendency; the former being on the outside of the arched bow
formed by the Principal, and the latter making a counterpoise on its hollow side.
According as the hollow of the Principal faces right or left, the arrangement is
called a right or left composition. By changing the direction and giving a different
character to the curves of these three lines a great variety of designs is produced,
some of which are shown in Plate XI. b.

To produce a five-lined arrangement, two additional lines are introduced
between the three previously named. The one placed between the Principal and the
Secondary is called the Support, and the one between the Principal and Tertiary is
called the Sub-principal. The Support, in length and importance, approaches more to
the Secondary than to the Principal ; while the Sab-principal, as its name would imply,
in length and importance, approaches more the Principal than the Tertiary. In this
way, it may be observed, a proper lineal balance and harmony is obtained ; for suppos-
ing the three elementary lines to be valued 4, 2, and 1, according to their respective
lengths and importance, it is plain that to preserve balance with the addition of two
extra lines, that introduced between 4 and 1 should be longer and more approaching
in value to 4 than that between 4 and 2, which should more approach the dimensions
and character of 2. These additional lines, besides having different intermediary
lengths, have other curves given to them, and are arranged so as best to fill the
intervals with due regard to variety and balance. In the seven-lined arrangements two
more extra members are added, one called the Side-line, and the other the Trunk-line.
Their lengths are about intermediary, the Side-line being placed between the Support
and the Tertiary, and the Trunk-line between the Sub-principal and the Secondary.

The different members of the above lineal arrangements have curious fancy

pq

^

/. / NEA L DISTRIB UTION.

47

names bestowed on them by the different Schools. For the triple style such clas-
sifications as that of Father, Mother, and Self ; or that of Heaven, Earth, and Mankind,
are used; and for the five-lined style the terms Centre, North, South, East, West; or
Earth, Eire, Water, Metal, Wood; and sometimes Yellow, Red, Black, White, and
Blue are employed. The Enshiu School apply the following curious ideas to the
different lines in an arrangement, namely : The Heart, Help, The Guest, Skill, 'The
Finishing touch; referring to the different sentiments which should inspire the designer.

The general form of the above groups of three, five, and seven lines depends
mainly upon the amount of curvature given to the Principal or centre-most line. In
the simpler and less affected styles, this bow-like curvature of the Principal is slight
and strong, but in the more exaggerated compositions, this governing line is boldly
bent sideways 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 the centre of gravity of the whole. The general form thus imparted
is, as mentioned above, somewhat like that of a strung bow. From such a shape
the transition is not great to that produced in
the arc of a bow by drawing it ; a more violent
lateral curvature with less vertical height being pro-
duced. This latter character is given to the Princi-
pal chiefly when used in positions where too much
height would meet with actual or optical obstructions
and be detrimental to a good effect. In floral ar-
rangements placed below a shelf, or in front of a
hanging picture which must not be hidden, such
treatment is often followed. This modification in
the character of the Principal necessitates corre-
sponding changes in the directions and curvature
of the auxiliary lines of the composition.

Up to the present, slight or violent as may
be the bow-like curvature imparted to the Principal,
it has been always presumed that its general direc-
tion— that is the direction of a line joining its base
and top — is vertical. Thus, supposing a tri-lineal
composition enclosed in a right-angled tri-angle, such
tri-angle would be standing on its point, with the

4»

A RRA NGEMEN T OF EL 0 1 1 rERS.

hypotenuse, corresponding with the Principal, placed vertically (see Fig. i). There
is, however, another style of design applied to a large class of flower arrangements
in which the Principal line of the composition has a horizontal or almost horizontal
direction, and supposing a tri-lineal group of this style enclosed in a right-angled
tri-angle the hypotenuse of the tri-an-
gle would lie horizontally (see Fig.
2). This latter style is chiefly appli-
ed to flowers arranged in hanging
vessels, or in standing vases placed
on raised shelves, the intention of
such compositions being to suggest
floral growths on the edges of cliffs
or banks, which lean over laterally.
In such elevated arrangements it
often happens that one of the aux-
iliary lines on the side towards
which the Principal bends over, re- f>g- 2-

ceives a decided droop and proportionate lengthening in order to emphasize the
droop. Such drooping lines are technically called Streamers. The Streamer character
may be imparted to either of the auxiliary lines, but redundancy must be avoided,
and it is regarded as a fatal error to introduce Streamers on both sides of the
Principal. The Streamer is very much used for floral arrangements in suspended
vessels, in tall bamboo vases having side mouths, or in receptacles placed upon the
edges of raised shelves. The prevailing idea in each of these cases is that the
composition must suggest the wild growth on the edge of a bank or precipice over
which the Streamer droops (see Plate XII. a).

The above description has been confined to three, five, and seven-lined

designs. Single line and double line compositions, as well as those of nine, eleven,

or more lines, are sometimes made, but their use is very rare. The double-line

form is employed occasionally for the simplest of all flower arrangements, namely
that of one flower and one leaf.

The different lines of a composition have hitherto been spoken of as if
existing in one vertical plane parallel to the spectator, but actually, in addition to
the directions mentioned to the right, left, upwards, and downwards, these lines have
also directions of varying degrees forward or backward. In other words, the extreme

ffl

<

*

LINEAL DISTRIBUTION. 49

points of these lines would require a solid and not a plane figure 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 vase respectively
as North, North East, East, South East, South, South West, West, North West:
then, imagining the South face of the vessel immediately in front of the spectator,
and bearing in mind that all the stems coincide for some little distance from their
origin, the cardinal directions which they take after separation would be as follows
(see Plate XII. b) : — The Principal bends North East, the Secondary South East, the
Tertiary South West, the Sub-principal, which is between the Principal and the Tertiary,
turns East, and the Supp >rt, which lies between the Principal and Secondary, terminates
centrally over the vase. Of the two extra lines used in seven-lined arrangements the
Trunk-line bends North East, and the Side-line bends West. In this manner a pleasing
variety back and front, as well as laterally, is given to the compositions, and they are
not the fiat arrangements which might at first sight be supposed from explanatory
drawings. Though designed principally with a view to being seen from a point of
view immediately in front, they obtain hereby solidity and variety, and their effect
when regarded from points to the right or the left are also taken into consideration
to some extent.

Certain errors in arranging the lines of floral designs are pointed out to be
strictly avoided. The first is that of Cross-cutting, which is produced by allowing two
or more lines visually to intersect one another, so as to form angles.

A similar fault, called View-cutting, exists when a stem or twig cuts across its
parent stem or branch ; but this is allowed for certain trees, as for example the Plum,
in which such intercrossing is characteristic of the growth.

Another error, called Parallelism, occurs when two or more adjacent stems or
branches are exactly parallel to one another, a fault much aggravated when the lines
are besides of equal or nearly equal length.

Window-cutting, so named after the curved or cusped windows of the temples
of the country, is the name given to an error occasioned by allowing stems to cross
and recross in curves so as to form looped openings.

Lattice-cutting is an exaggerated form of Cross-cutting, and this error appears
when several stems cross in parallel directions so as to suggest lattice work.

50 ARRANGEMENT OF FLOWERS.

Another fatal error is that of the Double streamer, or drooped branch, used
on both sides of the same composition. The above rules of prohibition, it will be
observed, are for the most part similar to those followed in floral and other ornamental
designs in the best styles of the architectural arts, being intended to prevent harsh,
conflicting, or redundant effects and to be productive of harmony of line. They are
illustrated in Plate XIII. a.

The various directions imparted to plants and branches of trees on the above
principles are obtained, first, by a careful selection of suitable material ; then, by
twisting, bending, building together, and fixing at the base ; and, lastly, by means of
cutting and clipping off defective and superfluous parts. Some special methods of
manipulation will be afterwards considered.

(T

^

pq

v

J)

m

i

SELECTION OF MATERIAL.

rTT T?i PON the general lines of composition already indicated, flower arrangements

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

<*a V with a combination of two or more species. The use of many different kinds

^ •* of flowers in one composition, though followed in the earlier styles, is opposed

to the principles of the purer styles afterwards developed.

Combinations of two or three different species are, however, very common,
and especially applied to vessels having two or three openings. In all compositions,
single or combined, the special nature of the different materials employed is in each
case carefully kept in mind, and anything at all suggestive of the inappropriate most
scrupulously avoided. Important distinctions are made between trees and plants, and
between land and water plants. The locality of production, whether mountain,
moor, or river, considerably influences the arrangement adopted. Each flower has
its proper month or season, and many flowers which are common to more than
one season have special characteristics of growth, or of form, during the different
seasons. These points of distinction are carefully studied, and are expressed in the
artificial arrangements, within the limits of the art. Second flowerings, or flowers
appearing in times other than their proper season, are discarded in flower composi-
tions. As an example of this may be mentioned a late kind of Peach blossom,
appearing in the Summer, which, beautiful as it is, may not be employed, because
the Peach blossom is specially a flower of the Spring time.

In arranging two or more species in one composition, variety must be sought
by combining trees and plants. In the case of three lines being used, the branches
of a tree should never be "supported" on both sides by a plant, nor should a plant
be placed in the 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

52 ARRANGEMENT OF FLOWERS.

triple arrangement it is plain that two branches of the same kind of growth must be
used, but these must adjoin, and not sandwich the remaining one. As an example of a
defective arrangement may be taken a composition with Irises {plant) in the centre,
and branches of Azalea and Camellia {trees) on either side. A correct composition
would be one with a Plum branch {tree) in the centre, with a Pine branch (tree)
on one side, and a Bamboo stem {plant) on the other. For examples of the above
correct and incorrect arrangements see Plate XIV. Some Schools allow occasionally
the violation of this rule, and permit the supporting of a tree on either side by a
plant, provided that the tree is a mountain tree and that one of the plants is a land
and the other a valley or water plant.

The above rules were no doubt made principally to prevent the weak
and insipid arrangements likely to be produced by the careless violation of the
principles which they express, especially in the hands of the inexperienced. Plants,
as before mentioned, are regarded as female with respect to trees, which are considered
male, because the former are weaker and more graceful in character than the
latter. A slender plant flanked on either side by tree branches would give a
weakness of effect to the centre of the composition, and the reverse arrangement
would give too much strength to the centre and weakness to the sides. In addition
to this, such arrangements would have a more or less symmetrical character, and
symmetry is disliked throughout the whole of the art under consideration. Like most
arbitrary rules, such directions were often departed from by the more advanced pro-
fessors, 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
branch in a triple arrangement. Also in double compositions the Willow and
Camellia are used together, and the Celosia argei.tca is often employed with the Serissa
fcelida.

As previously stated, the branches and foliage of evergreens, and even of
deciduous trees, are much used in floral compositions, the arrangement often being
without a single blossom. It is, however, laid down as a general rule that no flower-
bearing plant is to be employed with leaves only, nor must plants or trees which bear
leaves at blossom time be used with flowers alone. The following are exceptions to
this rule. The large leaved Chinese orchid has a flower, but it is very insignificant
and grows below, and this plant is therefore technically treated as a flowerless one.
The Iris japonica is sometimes arranged for its leaves only, before the flowers appear,
and it then receives a special name. The leaves of the Summer Narcissus, sometimes

(r

~-\N

J-?/ >-^N,

^

s

1

SELECTION OF MATERIAL. 53

called by the fancy name of Golden Pillar plant, are faded and withered before the
flowers appear, and they may therefore be removed and discarded.

All flower compositions must partake as much as possible of the spirit of
the seasons in which they are used. Spring arrangements should be strong and
powerful in line, like the growth of early vegetation ; Summer arrangements must
be full and spreading ; whilst those of Autumn should be spare and lean ; and
those of Winter, withered and dreary.

Mention has been made above of certain fatal errors in combining the stem-
lines of a flower composition, which are to be carefully avoided. There are other
faults in arrangement which concern the distribution of leaves and flowers. Large
blossoms should not be allowed to occur in regular steps or rows in a composition,
and this error is called the Stepped arrangement. Another fault called the Nail head
style, after the stiff metal flower ornaments used to cover nails in Japanese buildings,
consists in a flower turned exactly full view to the spectator with leaves on either
side. The term Colour-cutting is given to the error of placing blossoms of the same
colour on either side of a single blossom of another colour ; as, for example, a white
Chrysanthemum flower between two red ones. This is only another example of the
prejudice prevailing against sandwiching of any kind. The term Dciv dropping leaf
is given in a composition to a leaf which droops down in a feeble manner so that it
could not support a drop of water; this is greatly objected to. The above errors
are illustrated in Plate XIIIb.

Three distinct characters are observed both in flowers and leaves. In flowers,
there are the full blossoms, the half open blossoms, and the buds ; and in leaves,
the young green leaf, the full leaf, and the reddening or falling leaf. In flower ar-
rangements with one material, as for example with Cherry or Peach blossoms alone,
a different character of blossom is selected for the chief lines of the composition.
For the Principal, full blown flowers will be used ; for the Secondary, half open flowers ;
and for the Tertiary, buds are employed. Some designers, on the principle that the
half open flower is more powerful than the full blown blossom, use the half open
flowers for the Principal and the full 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 near the buds or over blown
flowers. A flower below a leaf is weaker than one above. In thinning out leaves
in a composition, two strong leaves must remain for every weak one.

FLOWER VESSELS.

STANDING VASES.

^WtAVlNG classified the different plants and trees which provide material for the

e \jj ['Japanese arranger of flowers, it is necessary to describe the various sorts of

VKjtf4' flower vessels which are employed for receiving the compositions. The form

T and character of such vessels considerably influence the

nature of the floral arrangements placed in them. These re-
ceptacles are of a diversity of shapes and of different materials,

such as wood, porcelain, pottery, bronze, brass, iron, and

basket-work. Without attempting to trace the development of

the different art-industries as applied to vessels for receiving

flowers, it will be necessary to refer to the various shapes,

proportions, material, and decoration of such vessels, so far

as they control or are governed by the floral arrangement

adopted. The most ancient receptacle used was a long-necked

earthenware or bronze vase of considerable height, and the

flower composition placed therein was made proportionately tall.

The difficulty of balancing such high arrangements led to the

use of shorter and broader vessels and to a corresponding

lowering of the compositions. This fact shows that from the

earliest times a recognized connection of proportion existed

between the floral group and the vessel in which it was placed. Fig. 3.

It is important to note that the surface of the water in which the flowers are
placed is technically regarded as the soil from which the artificial arrangement springs,
and the designer must here convey the impression of a stable origin. With this
principle in view, and guided also by the necessity, previously mentioned, of avoiding

56

ARRANGEMENT OF FLOWERS.

too great a height in flower compositions, a sort of broad-mouthed vase became the
favourite form used. Of this kind there are many shapes, generally in bronze, and
varying from a low saucer-like vessel to a trumpet-shaped form, supported sometimes
on short legs, and sometimes upon castings, representing such subjects as rocks,
water, spray, or an animal group.

Other kinds of vessels corresponding more to the ordinary vases employed in
the West, having necks and oval or cylindrical bodies, are also much used. Among
these, the vases with tall narrow necks are employed for the simplest arrangements
such as are displayed in the tiny Tea Rooms where rules of austerity necessitate very
light and quiet floral compositions. Vases intended for elaborate flower arrangements
are always necessarily of the wide-mouthed kind, to ensure an appearance of stability
at the base of the flower stems. A few of these different vases are shown in Plate
XV., but there exist a number of other shapes in common use, besides several fancy
forms which are occasionally employed. With the ordinary tall vase, whether of wide
or narrow mouth, the height of the flowers is generally fixed as 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.

VESSELS FOR WATER PLANTS.

For the purpose of displaying, in a suitable and suggestive manner, water
plants and grasses, low tub-like vessels came into use from quite early times. There
are two principal kinds employed, called respectively the Sand-bowl and the Horse-tub.
The Sand-bowl is a broad shallow vessel, oblong, poly-
gonal, or sometimes oval in shape, made of bronze or
porcelain, and containing a layer of pebbles or sand
covered with water. The Horse-tub is, as its name implies,
a shallow tub of wood, circular in plan, and generally
lacquered black. Its use as a flower vessel is said to
have originated during the exigencies of war time, when a
famous general of sesthetic tastes, in the leisure of a long
campaign, first used a common horse-tub for arranging
flowers in. Whereas it is a rule with other kinds of flower vases that the water
shall not be visible, the water in vessels of the Sand-bowl and Horse-tub kind is
intended to form part of the composition. The idea to be conveyed is that of a

Fig. 4.

V LOWER VESSELS.

57

broad surface of water or marshy ground, and the plants and trees used are only
those which are associated with the propinquity of water. Water plants are chiefly
employed, but sometimes plants or trees which grow on the banks of streams are
also allowed. The use of such water vessels
is moreover chiefly confined to the warmer
months of the year, when the sight of a
broad surface of water is grateful and refresh-
ing to the eye. A different rule of proportion
between the flower composition and the vessel
is followed when these broad shallow recep-
tacles are employed. The height of the floral
composition is made about one and a half
times the breadth of the vessel, and is not
regulated by its height as with the ordinary
standing vases.

'<0' H

^.~V :$£*•&,

Fio. 5

It is customary with the above-named
water-bowls to use fancy fasteners of metal,
to hold, or give the appearance of holding,
the base of the flower stems. These will be
described afterwards when the whole question
of fasteners is discussed. Examples of Sand-bowls and Horse-tubs are shown in Plate
XVIa. A special water vessel requiring mention is that which goes by the name of
the Long-boat, not from any particular resemblance in form to a boat, but from the
fact that it is very long in proportion to its width, and is made of white wood. In
shape, the Long-boat resembles a Sand-bowl, and it is used in a similar manner,
with sand, pebbles, rocks, and water.

Another form of standing vessel sometimes used for plants is the Well-frame,
a sort of box-shaped vessel of worm-eaten wood, with a capping piece crossing at
the angles like an Oxford-frame, the whole resembling the wooden enclosure round a
Japanese well (see Fig. 5).

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 {Clerodendron squamatum) is combined with a long slender grass called Susuki

(Eitlaria japonica).

58

ARRANGEMENT OF FLOWERS.

FLOWER BASKETS.

The famous Regent Yoshimasa is said to have been the first to employ the
plaited basket as a receptacle for flowers. These baskets, made of reeds, stems of
creeping plants, cane, or bamboo, were of Chinese origin, and much prized in Japan,
where high prices were given for antique specimens. To the
present day the more mellowed with age these vessels appear,
the more they are valued. A Chinese artizan, named Hokoji, is
said to have introduced their manufacture into this country. He
presented one of his own make to the retainers of Yoshimasa,
with a humble request that it should be embellished with an
ornamental stand when placed before the Regent. Yoshimasa is
said to have been so pleased with its simple elegance that he
ordered it to be put at once on the dais without any stand or
tray. From this arose the custom of dispensing with a tray
under Flower-baskets, though used under other flower vessels. A
special kind of Flowcr-baskct, with a large oval handle arching
over the top, is still called the Hokoji shape, from the name of
its first maker; and another kind, with a straight neck and no
handle, is called the Reishojo shape from the name of his
daughter, Reishojo. The Hokoji-shape basket is shown in Fig. 6,
FlG- 6- arranged with a Convolvulus twined round the handle. Flowers

placed in such baskets are fixed in bamboo tubes containing the water, which are
hidden within.

Another popular story, in connection with the use of baskets as flower
vessels, is that the famous philosopher Rikiu started the fashion on the occasion of a
visit to the cherry blossoms on the banks of the river Katsura, near Kioto, when he
made use of a common trout-basket to arrange gathered flowers in. There is a special
basket still in use called either the Katsura-baskct or the Trout-basket. Besides the or-
thodox shapes alluded to, there are various fancy forms of baskets employed both for
standing and hanging. Of these the following principal examples may be mentioned : —

The Half-plaited-baskel, a cylindrical basket in which the vertical threads
project two or three inches above the horizontal plaiting, as if unfinished in making.

The Rain-coat-basket, a hemispherical basket with a frayed top hanging over

FLOWER VESSELS.

59

the edge of the mouth, and somewhat resembling the straw collar of a Japanese
farmer's rain-coat.

The Wool-basket, a rudely shaped cylindrical basket with a long handle, such
as is used in collecting the wool of the cotton plant.

The Bait-basket, a small plain basket with a handle, similar to that used for
carrying fishing-bait.

The Horned-basket, a basket of tall
cylindrical form, with two horn-like projections
on the top, as handles.

The Square-basket, a basket of simple
cubical shape with no handle.

The Long-basket, a tall, thin, tube-
like basket.

The Sosen-basket, a basket of pyramidal
shape, having four sloping sides gathered to a
circle at the mouth, and with a high arched
handle. The name Sosen is that of its in-
ventor. It is shown arranged with Chrysan-
themums in Fig. 7.

Among special baskets for hanging or
hooking, may be mentioned the following : —

The Hom-shaped-basket, a basket shap-
ed like a bull's horn.

Fig. 7.

The Cicada-shaped-basket, so called from its resemblance to the body of an insect.

The Butterfly-shap;d-basket, a basket which has a short cylindrical neck, and
a broad arched body curving out to points at the bottom, the whole form being
suggestive of a butterfly with open wings.

6o

ARRANGEMENT OE FLOWERS.

The Sock-shaped-basket, a basket of an irregular oval shape below with a top
opening towards one end, somewhat resembling
in shape a baby's sock. It is illustrated in
Fig. 8, arranged with Willow and Narcissus.

The Gourd-shaped-basket, a basket woven
in the form of a gourd.

The Daikoku's-bag-basket, a basket re-
sembling in shape the bag carried by the Japan-
ese God of Riches, Daikoku.

The Avima-basket, a basket of cylin-
drical form with a side mouth, similar to the
hanging bamboo basket. The name is derived
from a village called Arima.

For certain suspended arrangements of
creeping plants a deep net-work basket, some-
thing like an English waste-paper basket in
shape, is often used. Within this a low flower
vase is placed from which the creeper rises,
being arranged so that part is seen through
the netting; of the basket, and part hangs over

° to FiG g_

the side in a streamer or trail. In all cases

flower baskets require an inner vessel for holding the water in which the flower stems
are placed, and this generally consists of a concealed tube of bamboo. Examples of
various flower baskets are to be seen in Plate XVIb. and Plate XVII.

BAMBOO VASES.

To Yoshimasa's patronage is also attributed the original use of flower vases
made of bamboo tubes. As first introduced, these were simple cylinders of thick
bamboo, cut near the root, about a foot or more in height, and four or live inches
in diameter, the bottom being closed by a natural division. The facility with which
such vessels could be cut into different shapes led to the invention of a variety of

FLOWER VESSELS.

61

forms,

each bearing a fancy name and specially adapted to different styles of flower
arrangement. Portions of the sides were notched out, and side
apertures were introduced, often in several stages, so as to allow
of two, three, or five compositions in one vase. The different
kinds employed are so numerous as to require tabulation, and
many of the names almost defy translation ; they are therefore
given in Japanese. The meanings of these names are explained
as far as possible, and it will be seen that thep refer chiefly to
some fancied resemblance in general shape, or in the form or
number of the apertures, to other native objects. They are as
follows : —

Fig. g.

Shiskiguchi-gata. — Lion's-mouth-shape ; a cylinder from ten to fifteen inches in height
with a square side-mouth about 3 inches deep.

Noborijishi-gata.- — Rampant-lion-shape ; a higher cylinder with side mouth as above.
Tabimakura-gata. — Travelling-pillow-shape ; a very short vase with small side slit.

Utaiguchi-gata. — Singing-mouth-shape ; so named from a splayed form given to the
side opening suggesting the incline of the lips in singing.

Waniguchi-gata.- — Shark's-mouth-shape ; so called from teeth-like prominences given to
the bottom of the side aperture.

Fiikiirokuju-gata.- — Named after a Japanese magician with a very long cranium, on
account of the low position of the side mouth.

Karamon-gata. — Chinese-gateway-shape ; a high vase with one of the side openings
rounded, resembling a Chinese arch.

Gammon-gata. — Wild-geese's-gatevay-shape ; a vase with curved side-opening somewhat
like the above, the name being taken from that of a famous arched sea
rock called the Wild-geese' s-gateway.

Kawataro-gata.— 'Named after a fabulous animal called K a water 0 or Kappa something
like a monkev, said to inhabit lakes.

62 ARRANGEMENT OF FLOWERS.

Seiro-gata. — Distilling-vessel-shape ; a high vase with two small side openings one
above the other.

Kawara-gata. — Tile-shape ; so called from its resemblance to a half cylindrical capping
tile.

Ro-gata. — Oar-blade-shape ; resembling the blade of a Japanese oar.

Toro-gata. — Lantern-shape ; supposed to resemble a stone standard-lantern.

A nko-gala. — Ray-fish-shape.

Daruma-gata. — Seated-hermit-shape ; this vase spreads out at the bottom and has an
arched side-opening near the top, suggesting the form of a hermit's cowl.

Noborizaru-gata. — Climbing-monkey-shape ; this is a high vase with a very long deep
cut in the middle leaving two short cylinders at top and bottom.

Daibutsu-gata. — Seated-Buddha-shape ; so called from its supposed likeness to a seated
Buddhist statue.

Enko-gata. — Monkey-shape.

Katoguchi-gata.- — Cusped-opening-shape ; so named because of the cusped form of the
side-opening.

Toro-gata. — Mantis-shape.

Gojiu-gata. — Five-storey-shape ; a very high vase with five side openings.

Hiokei-gata. — Icicle-shape ; so called from the leg-like cuttings at the bottom of the
vase, in the shape of icicles.

Mitsuashi-gata. — Three-legged-shape ; in this vase the bottom of the cylinder is cut
away leaving three legs remaining.

Torikago-gata. — Bird-cage-shape.

FLOWER VESSELS. 63

Tcoke-gata. — Hand-pail-shape ; resembling a Japanese hand pail, two deep apertures
being cut exactly on opposite sides so as to leave a handle-like strip
remaining.

Tcgine-gata. — Pestle-shape.

Usu-gata. — Mortar- shape.

Shakuhachi-gala . — Flute-shape ; a long thin tube of bamboo, slightly bent like a native
flute.

Hashigui-gata. — Bridge-post-shape ; supposed to resemble the newel of a wooden bridge
rail, having a deep square slit in the middle.

Miotsukuslii-gata. — Beacon-light-shape.

Nijiu-giri-gata. — Two-storey-shape ; a vase with two side openings one above the other,
in addition to the top opening.

Saiijiu-giri-gata. — Three-storey- shape.

Tsurube-gata. — Bucket-shape; named after its supposed resemblance to a well bucket.

Tsuru-kubi-gata. — Crane's-neck-shape ; so called from the length and depth of the side
cutting which leaves a long thin neck of bamboo suggestive of a crane's
neck.

Tstirigane-gata. — Bell-shape.

Koma-gata. — Spinning-top-shape.

Tarai-gata. — Tub-shape.

Horagai-gata. — Conch-shell-shape.

Taki-nobori-rio-gata. — Cascade-ascending-dragon-shape ; a high bamboo vase cut into a
long spiral, supposed to resemble a writhing dragon.

64 ARRANGEMENT OF FLOWERS.

Eboshi-gata. — Ceremonial-cap-shape ; named after its resemblance to a Japanese Court-
cap.

Jikiro-gata. — Food-box-shape.

Nijiu-yagura-gata. — Two-storey-castle-turret-shape ; so called from square embrasure-like
side openings near the top.

Hatomune-gata. — Pigeon-breasted-shape ; so called from a bend in the bamboo cylinder
giving it a pigeon-breasted appearance.

Rikkivan-gata. — Pan-pipes-shape ; a row of small bamboo tubes of different heights tied
together with cord and fixed on a stand.

The invention of most of these bamboo vases is attributed to different pro-
fessors of the Tea Ceremonial. As will be perceived in the above list, assisted by
the illustrations, the breadth, depth, and roundness or squareness of the side apertures,
as well as their number, and the total height 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, and such vessels can be used at option, either
hooked to a nail, or standing upon the floor of the alcove. The tall kinds having
open tops are invariably used standing.

Another variety of bamboo vase not previously mentioned consists of three or
more bamboo cylinders of different heights attached in a line, and named The Row-
of -Piles, after their resemblance to a row of pile heads. Many of the above mentioned
bamboo vases are illustrated in Plate XVIII.

There also exists what is called the Verdant Bamboo Vase, being a vase of
one of the above shapes, freshly cut from a growing bamboo stem, with twigs of green
leaves remaining on it. In such a vase the intermediary knots or divisions are left
intact, and small apertures are introduced in the side for filling in water and other
preservatives against speedy withering.

Japanese flower vessels may be broadly divided into three kinds, those used
for standing upon a dais, table, or shelf; those intended for hooking against the wall
or against a pillar ; and those suspended by chains or cords from a ceiling or beam.

FLOWER VESSELS.

65

The vessels hitherto described belong to the standing kind, with the exception of some
of the baskets and certain of the bamboo vases just enumerated, which can be used
either for standing or hanging. In order to distinguish clearly between flower vases
which are hooked to a pillar or wall surface and those which are hung by chains or
cords, the former will be called in future Hookcd-vcsscls, and the latter Suspended-
vessels.

HOOKED VESSELS.

Hooked-vessels are of various kinds, from the chrysalis-shaped root of a
bamboo to the form of a shell, gourd, or melon. They are invariably short, compared
with the standing vases, and with a few exceptions the absence of flatness below
suggests their method of use. Among the bamboo vases, those of
little height and with narrow side apertures, such as the Lion' 's-mouth-
slwpe and Travelling-pillow-shape, are used mostly as hooked vases.
A lateral direction is given to floral compositions placed in hooked
vessels, the idea suggested being that of flowers hanging over a
cliff. For Tea Rooms, where a severe and rustic style of flower
composition is preferred, curious shapes of vases are pressed into
use, among which may be mentioned those of the Octopus-pot, a
coarse irregular shaped earthenware jar used by fishermen for
holding the octopus; the Iron-pot, a rough iron pot-shaped vessel
somewhat like a martin's nest ; and the Decayed-stump, a piece of
decayed wood hollowed out as a vase. The Gourd is also a
favourite form for hooked vases, the mouth being sometimes cut
in the side and sometimes at the top. It is said to have been
first used for flower arrangements by the philosopher Rikiu, who
once extemporized a floral design in a wine-gourd which he took
from an itinerant priest at the temple of Sumiyoshi in Osaka.

fig. I0. As previously mentioned, many of the woven baskets em-

ployed as flower vessels belong to the hooked class. These are to be found described
under the head of flower-baskets, and are illustrated in Plate XIX.

As a background to the Hookcd-vcsscls and originally intended to protect
the pillar or papered wall-surface from staining or abrasion, narrow oblong tablets of

66 ARRANGEMENT OF FLOWERS.

wood are often used. They are sometimes made ornamental, being lacquered and
inscribed with verses in gold letters. Some are plain oblong tablets about four inches
broad and three or four feet long; others are wedge-shaped, tapering towards the
top ; and others have curved sides. They are provided with a long narrow slit down
the middle for sliding to different heights over the iron nail or peg by which they
are held to the wall or pillar and to which the flower vase is hooked. In some
cases these tablets are hinged in the middle to allow of folding up when out of
use. They are often made of segments of bamboo flattened out and polished or
lacquered. Examples of these hanging tablets may be seen in Plate XXa.

SUSPENDED VESSELS.

Suspended vessels are those hung by a coid or chain to the ceiling or lintel
of a recess. Belonging to this class is a crescent-shaped ve~e of pottery or bronze
called the Crescent-moon. The horns of the crescent are made almost to meet and
are suspended from above by a connecting ring and single chain. The other kinds
being of more elongated form are hung from both ends by double chains or cords.
The simplest of these are bamboo tubes splayed off at the 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 exact resemblance to a ship or junk. Yoshimasa is
said to have conceived the idea of boat-shaped vases whilst observing children sailing
toy boats filled with flowers. Another story attributes the first use of such vessels
to the famous philosopher Soami who on a hot summer day, to please his 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 idea of a sailing
vessel. The Regent was so pleased with this new departure in flower arrangements,
that Soami devoted his attention to the matter, and drew up certain rules with special
regard to boat arrangements. The different terms then introduced refer both to the
form or decoration of the boat employed, and to the direction or character of the
complete floral composition. First, out of compliment to Yoshimasa, who was then
in retirement at Higashiyama, the names of his ten pleasure boats were applied to
different forms of flower-boats. These were as follow; — Dragon-head-boat, Dragon-boat,
Phoenix-head-boat, Phccnix-boat, Lotus-flower-boat, High-wave-boat, Cloud-boat, Chincse-oma-
ment-boat, Divers' -boat, and Scaweed-gathcring-boat. These names refer, except in the last
two cases, to the ornament carved on the prow or sides of these Royal pleasure
boats, both for decorative purposes and intended as a charm against accident. In

FLOWER VESSELS.

67

the Flower-boats used to represent them, such designs were either made on card-
hoard fixed in the end of the vessel, or were actually cast upon the side of the
bronze vessel.

The simpler boat-vases of bamboo seem to have been of later origin than the
bronze boats previously described. They have various distinguishing names according
to their length and general shape. Such are ; -the Boot-shaped-boat, a very short
vessel ; the Ocean-boat, a long vessel-
with a high stern ; the Roofed-boat ,

a vessel in which the form of the ^fisS^

cutting suggests a roof over the -^§?^

deck ; the Oil-funnel-boat, a long
narrow boat ; the Companion-boats, Q
two boats connected side by side,
one a little ahead of the other; and FlQ' ""

the Canal-boat, a punt or barge-shaped vase. A somewhat similar kind of vessel consists
of several small bamboo tubes of irregular lengths tied together to resemble a Raft, and
hung horizontally. The centremost of these tubes is sometimes furnished with an open-
ing to receive the flower stems, but in other cases the whole arrangement is merely a
suspended stand, upon which is placed a small bowl or vase holding the flowers. For
the latter purpose Rafts are sometimes made of squared bars of wood bound together,
instead of bamboo tubes. An illustration may be seen in Fig. II, in which the Raft
supports a basket of cherry blossoms supposed to be suggestive of river scenery at
Arashiyama where flower-laden boats float down the stream in the cherry season.

Various other fancy shapes of suspended boat-like vessels are used. Of these
may be mentioned ; — the /voto-shaped boat, a broad and slightly arched vessel with
square ends, resembling an inverted Japanese koto or harp; the Snon-shoe-boat, a vessel
in the shape of a large snow-shoe with a little frame upon it within which is placed
a small flower vase ; the Decayed-wood-boat, a boat-like vessel formed out of a hollow-
ed piece of old timber, the Cliinese-br ass-boat, a fancy vessel of brass, with a silver
chain, and an anchor of black metal hanging to the side ; the Basket-work-loat, a
boat of metal basket-work. Also a curved cane-work tray, oblong in shape, hung
from the ends, and carrying in the middle a little bowl of flowers, is sometimes used.

An important theory in boat arrangements is, that they ought always to be
suspended in an elevated position, both with a view to preserve the idea of a floating

68 ARRANGEMENT OF FLOWERS.

vessel, and also to prevent the possibility of seeing the water which they contain. It
is held to be a great violation of taste to allow the water which is necessary for pre-
serving the plants in a flower-boat to be seen, because water visible within a ship
would be suggestive of a leaking or wrecked vessel, and would be consequently con-
sidered ominous. Sometimes the idea of a stranded or beached boat is purposely
conveyed by a flower vessel which is placed upon the dais instead of being suspended.
In this case the vessel should be raised upon a stand of some kind so as to place
its upper surface above the eye level of seated visitors. Such standing boat-vases are
supported upon two wooden rollers or upon a light frame of cross-pieces. Before
leaving the subject of boat-shapes, allusion must be made to a standing vessel called
the Long-boat which is sometimes employed for elaborate arrangements of plants and
grasses. This vessel appears to be called a boat simply on account of its narrow
length and the fact that it is made of plain white wood. It resembles a Sand-bowl,
being an oblong tray-like vessel with short legs. It is five feet long and about one
foot wide and is only used for very large recesses on special occasions. The boat-
vases described above are illustrated in Plates XXI and XXII.

The classification given refers only to 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 flowers within, so as to convey different nautical ideas. The
three principal arrangements are those of the Outward-bound-ship, the Homcward-bound-
sliip and the Ship-in-port. Besides these there are other designs known as the Distant-
ship, the Swiftly-sailing-ship, the Becalmed-ship, and the Branch-laden-ship. These
different fancies are conveyed first by the direction, right or left, and backward or
forward, given to the prow of the vessel ; and secondly, by the distribution of the
different lines of the flower composition. Even the length of the suspending chain
and the distance or proximity of the arrangement from the observer is governed by
the style adopted. According to the principles of lineal distribution which apply to
all suspended flower designs, the Streamer holds an important place in the above
examples. It is in such cases intended to suggest the long bent oar which in
Japanese boats trails back towards the stern. This floral line must not be too
powerful, as it represents the idea of an oar dragging in the water. The central
flower stem stands for the single mast of a junk with or without sails, and the
subsidiary stems indicate the other sails and rigging of the vessel. This will be
better understood by describing one or two of the arrangements in detail.

Homeward-bound-ship. In arranging a boat of flowers in this form the prow of

FLOWER VESSELS. 69

the vessel is turned towards the left, which, in superior rooms is the host's side of
the chamber, in order to convey the idea of home-coming. The central stem of the
floral arrangement is high and full, curving towards the helm, so as to indicate a ship
in full sail, and a Streamer hangs over the front side sloping back towards the stern
on the right. The above is a favourite device on occasions of rejoicing for a safe
return, or when a son or daughter-in-law is being received into the family. Some say
that this method of arrangement should only be employed from noon to dusk.

Outward-bound-ship. This is an arrangement exactly the reverse of the former,
the vessel having its prow turned to the guest's side of the chamber, on the right.
It is adopted at parting gatherings in token of wishing good-speed to those setting
out on a journey. It is said that this style of composition should be employed only
from morning to noon.

Ship-in-port. In this arrangement the vase has the same direction as the
Homeward-bound-ship, but the floral design is kept small and straight, so as not to
suggest wind or motion, and the Streamer hangs over the further side of the vessel.
Such a disposition of the flowers should not be effected excepting during the hours of
evening.

Swiftly-sailing ship. The direction of the vessel in this design is to the right,
or outwards; the floral arrangement is full and bent, but no Streamer is used.

Branch-laden-ship. The direction of this vessel is inwards, or towards the left,
and the floral arrangement is kept short and close, and consists of small flowers, such
as daisies and carnations, which are not allowed to project beyond the limits of the
vase itself. The idea suggested is that of a ship loaded with timber or tree branches.

These different styles of composition are shown in a skeleton form in Plate
XXIII. Other special rules for hanging boat-vases will be considered afterwards,
when the general question of the position of flower arrangements in a chamber is
discussed.

Suspended vessels called Well-buckets are often used in pairs hung over a
pulley by a thick silk cord. One of the buckets is allowed to rest on the floor, or in
some cases upon a frame designed in imitation of the railing or boxing round a well,
and the other is suspended in the air.

7o

ARRANGEMENT OF FLOWERS.

To Rikiu is attributed the first use of such flower vessels, the idea coming
to him whilst he was observing a convolvulus twining round the bucket of an old
well. A similar pair of buckets are occasionally employed without the pulley and
suspending rope, one being placed balanced on the edge of the other so as to leave
only a portion of the lower one uncovered for the insertion of flowers. In this
case the rope is arranged in a flat coil as a stand for the lower vessel. Buckets
used in this way are always flat-sided to ensure stability, but for the ordinary
suspended arrangements cylindrical as well as 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 a red
silken cord should be used; to those in plain wood a plainer cord may be attached;
and in the case of the rustic buckets, of decayed wood, a common hemp rope or
even an iron chain may be substituted. Single buckets are occasionally to be seen
standing upon a low table or decayed slab of wood, or hung by a single bamboo
rod. (see Plate XXIa.).

Porcelain buckets and pulleys, although not uncom-
mon, are of quite modern introduction, and not according to
rule.

Other fancy vessels suspended by cords or chains are
sometimes employed. Among the bamboo vases in Plate
XIXa. will be seen one which is suspended by a chain, like a
lantern. Suspended baskets, distinct from the hooked baskets
previously described, are not uncommon. Another example is
the suspended net-work basket previously described on page 60.

The inverted bronze bell suspended by a chain is
another vessel occasionally used for holding arrangements of
Wistaria flowers, (see Fig. 14).

A curious form of suspended flower vase is the in-
verted umbrella, an exact imitation in bronze of a Japanese
umbrella, (see Fig. 12).

A large sea-shell hung by a single cord forms a
favourite receptacle for very simple flower arrangements.

FLOWER VESSELS.

7*

FLOWER CHARIOTS.

Belonging strictly speaking to the class of standing vessels, but sufficiently
striking and important to require special notice, is the Flower-chariot, which figures
so often in pictures on painted screens and other decorative objects. At certain
festivals and processions it appears that large tubs full of richly arranged flowers

were drawn upon wheeled chariots hand-
somely ornamented. The idea was adopt-
ed for flower arrangements placed in very
large recesses, where great size and
display were required. The length of the
Flower-chariot is four feet six inches from
the back to the end of the shafts ; the
wheels are about eighteen inches in di-
ameter, and the flower tub which the
chariot carries, is about sixteen inches
high. Both vehicle and flower tub are
lacquered black and furnished with silver
fittings. The flower compositions are
made very full and high. The Flower-
chariot is illustrated in Fig. 13.

A somewhat similar flower recep-
tacle called the Water-carrying-cart is also
employed. This vehicle is a flat truck
with four low wheels, and no shafts, like
a child's toy-cart, bearing a small bucket
Fl0. in which the flowers are arranged.

FLOWER FASTENERS.

The subject of Fasteners for floral arrangements is one belonging to the
Technique of the art under consideration. To a great extent, however, the methods
of fastening are treated as a part of the decoration of the compositions, and as such
they are closely connected with the different flower vessels employed, and require
notice in the present context.

72 ARRANGEMENT OF FLOWERS.

As before mentioned, the Springing, or point of origin of the floral group,
is of great importance, and the firm and skilful fixing of the stems or branches
in the vessel which holds them is one of the most difficult parts of the manipu-
lation. Ordinarily, the stems are held in position by small cylindrical pieces of
wood fitting tightly across the neck of the flower vase, and having a slit, wider
above than below, for threading them through. The wedge-shaped form, wider
towards the top, which is given to the slit, allows slightly different inclinations to be
imparted to the several branches. The fastener should be fixed about half an inch
below the surface of the water, the level of which is made to vary according to
the season, and it should not be visible from the front of the vessel. If the vase
used be a lacquered one, paper should be placed between its surface and the ends
of the fastener, to prevent scratching. In some large mouthed vessels, and in the
Flower-baskets, the flower stems are fixed in concealed tubes of bamboo which hold
the water and the fasteners. Some Schools affect a rustic simplicity in their appli-
ances and employ a naturally forked twig to hold the flowers in position.

For arrangements of water plants in kneckless vessels such as Sand-bowls or
shallow Tubs, other sorts of Fasteners are necessary, which are hidden below the sand or
pebbles which such vessels contain. One kind consists of a sheet of copper perforated
with holes of different sizes to receive the extremities of the different stems. Another
Fastener is made of rings or sections of bamboo of varying diameters attached to a
wooden board, the stems finding lodgment in the sockets thus formed, and being further
held in position by the pebbles which cover them. Occasionally a Fastener called the
Whirlpool, and consisting of a spiral hoop of metal placed vertically, is employed.

For arrangements in these shallow vessels there are a number of fancy
Fasteners in common use which are in many cases merely ornamental, the hidden
contrivances just described, buried below the sand or pebbles, doing the real duty
of holding the stems in position. The principal of these ornamental fasteners are as
follow : —

The 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 flower vessel, and to
this kind of vessel it is chiefly confined. The linked character of this fastener allows
of its being folded in a variety of ways, so as to leave loops of different size to
encircle the flower stems. With the scrupulous minuteness of detail which charac-
terizes the art under discussion, the floral designer has classified these different ways

FLOWER VESSELS.

73

of using the bit, giving names to each bar, plate, and loop of iron, and inventing
terms for the various methods of folding. The principal arrangements are shewn in
Plate XXIVa. The use of the Horse1 s-bit-fastener is prohibited, however, for floral
designs placed in the ornamental recess of a chamber of superior class; and if it be
introduced into a flower arrangement in such important rooms, the composition must
not occupy the principal position.

The Crab-fastener consists of a metal crab or pair of crabs. If one crab
be used, it should be disposed so as to contrast in character with the flower
arrangement, by which is meant, that if the composition be high and powerful, the
crab must be placed in a low and unobtrusive position, but if the flower design be
broad and wanting in vertical strength, the crab must be raised in a climbing attitude.
If a pair of crabs be used, one must be elevated and the other lowered in position,
or, to adopt the quaint phraseology of the floral art, one must be male and the other
female. As the representation is that of a land and not a sea crab, this kind of
fastener may be used with land as well as with water plants.

The Hare-fastener is a bronze hare in miniature. It may not be affixed to
water plants, and is specially suitable for arrangements of wild plants and grasses
such as the Lespedeza, Rush, and Elecampane,

The Pair-of-carp-fastener consists of a pair of metal fish designed in the
position of two carp sporting together. This fastener is, as might be supposed,
only used for water plants.

The Dragon-fastener is a metal ornament in the form of a writhing dragon,
and, as the dragon is a mythical monster belonging to all elements, the use of this
fastener is not limited to any particular kind of plant.

The Tortoise-fastener consists of one or two tortoises in bronze arranged in
different positions.

The W ater-fowl-faslener is generally a metal imitation of a pair of Mandarin
ducks. It is occasionally attached to water plants.

The Frog-fastener needs no special explanation, except that, representing an
amphibious animal, it may be used with both land and water plants.

74

ARRANGEMENT OF FLOWERS.

The Anchor-fastener is specially intended for use in suspended boat-shaped
vessels. It is incorrect to fix it in a vase representing a stationary ship, as in such a
case the anchor would not be visible.

The Knife-fastener is a metal knife or dirk such as is worn in the wooden
sheath of a Japanese sword, and owes its original use as a flower fastener to a floral
arrangement once hastily extemporized by a famous artist named Orihe, in which,
having no other fastener at hand, he used his knife for the purpose. The Scissors-
fastener ; the Pipe-fastener, — a long metal tube with a small bowl; the Weight-fastener,
— an oblong metal paperweight ; the Chain-fastener, — a short chain disposed in a
bunch ; and the Kettle-stand-fastener, — a small iron ring and tripod used for supporting
the kettle over the charcoal brazier; — these also are all occasionally employed. The
principal of the above fasteners are illustrated in Plates XXIV and XXV.

A special kind of fastener called by the Japanese Jakago needs separate
notice. The native name Jakago refers to the long sausage-shaped bags of bamboo
basket-work which are filled with bowlders and laid in fascines at the sides of rivers to
break the current and protect the banks. They are a common feature in river scenery
and have therefore come to be imitated in flower arrangements intended to be sug-
gestive of the presence of water. The Jakago-fasteners are long cylindrical baskets
with closed and rounded ends which are laid in shallow basins together with orna-
mental stones or rocks, and besides being decorative they serve to hold the stems
of the plants artificially arranged within. An illustration of their use may be seen
in Fi«*. 26, where two are shown combined with the Kerria japonica, the whole
being intended to represent a view of the river Tama near which these flowers
abound.

CHOICE OF FLOWER VESSELS.

The Japanese flower artist recognizes a distinct and important connection
between the floral composition and the receptacle in which it is arranged. Some
points of relationship, such as that of proportion in height or breadth between the
two, and the distinction between vessels used for land plants and those suitable for
water plants, have been already mentioned. But there are other more subtle harmonies
in taste and sentiment which are carefully observed. A flower vessel, being in itself
a work of art, may possess different aesthetic characteristics, such, for example, as

FLOWER VESSELS. 75

rustic simplicity, elegance, or richness. Its shape, material, or decoration may also
convey to the imagination various feelings and mental associations. Flowers, too,
possess different qualities in form, colour, or growth, and are in all countries as-
sociated with special poetical attributes. Particularly is this the case in Japan
where hardly a fete or pastime exists in which flowers do not play a part, and
where almost every blossoming tree has some romantic tradition of its own. Apart
from the character intrinsically belonging to the flowers themselves, their artificial
treatment in the flower art under consideration imparts to them other characteristics
varying with 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 flower vessels are works
of art capable of distinct artistic expression, it becomes a matter of importance that
the spirit of the one should accord with that of the other. This harmony of sentiment
need not necessarily be one of complete unison ; on the contrary, it is often produced
by a well-judged contrast.

By way of illustrating this intimate connection between floral compositions
and the vessels 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 vessel of decayed wood containing a climbing creeper.

Affection;— the character attributed to a bronze basin containing a Pine branch
entwined by a Wistaria.

Serenity; — expressed by a suspended bronze boat, bearing white Chrysanthemums,
suggestive of a loaded ship in port.

Austerity; — the sentiment conveyed by the Eularia japonica and Patrinia scabiososfoli.i
arranged together in a small bronze vase.

Quaintness; — denoted by a hooked vessel in the shape of a gourd, containing small
Chrysanthemums.

76

ARRANGEMENT OF FLOWERS.

Brightness ; — the idea suggested by a bronze vase engraved with a design of wild geese
flying across the full moon, and holding Lespedeza flowers.

Chastity; — the character expressed by a bronze vase engraved with a design repre-
senting rain, and containing a branch of Maple.

Security; — denoted by some kind of water plant, placed in a bronze vase engraved
with the design of a spider's web.

Veneration ; — the sentiment conveyed by a branch of Pine, or some other evergreen,
placed in a bronze vase engraved with the representation of a crane.
The crane and pine tree are both associated in Japan with the idea of
venerable old age.

The above combinations, capricious as some of them may appear, serve to
illustrate the manner in which vessels and flowers are used
together to express an appropriate sentiment.

Sometimes the harmonious connection between the
two is based merely upon a resemblance in the name of both.
The Clematis, for example, is called Tesscn (Tetsu-sen) and
because the word Tetsu signifies Iron, this flower is often
placed in a rough iron vessel, (see Plate XLVIIIb).

The native name for the Wistaria is Fuji, and the
bell-like ornaments hung to the eaves of temples being called
Fiirin, by way partly of a play upon the words, the Wistaria
is sometimes arranged in a inverted bronze bell, (see Fig. 14).

Certain writers go so far as to classify flower vessels
according to the seasons, recommending, for Spring arrange-
ments, bamboo vases, bronze vases, and narrow necked
vessels ; for Summer compositions, flower-baskets, bronze
basins, wooden tubs, or other broad-mouthed vessels ; for
Autumn designs, boat-vases, and porcelain vessels ; and for
those of Winter, gourd-shaped vases, and narrow necked
vessels. However rare and valuable a receptacle may be, it

FLOWER VESSELS. 77

must not be used for holding flowers unless intended for that purpose ; jars, jugs,
pots, and other utensils having special uses of their own should not be employed
for floral arrangements. This rule is apparently violated in the case of such important
flower-vessels as the Horse-tub, Well-bucket, and Flower-boat. But these are exceptions
which custom has sanctioned, and their names have reference rather to the original
models from which they are copied. In each case, moreover, there is a special
connection in idea between these receptacles and the flowers placed in them, so that
the result has no element of incongruity.

In such matters, however, considerable license is allowed to masters proficient
in the art, and especially in the case of floral designs for Tea Rooms, where the
employment of curious vessels of all kinds is permitted. Some of these, such as the
Paste-pot, Octopus-pot, and others, are illustrated in Plate XIXb.

A few general directions are laid down as to the particular kind of receptacles
suited to certain flowers.

For flowers of large blossom, such as the Peony, the Chinese-basket is
preferred, the Peony being considered the principal flower of China. Moreover, these
large baskets are in character well suited to show off the ponderous blossoms of
this plant.

For most water plants, low basin-like vessels, or vases with very broad
mouths, are best suited, but the Narcissus requires a narrow-necked vessel to show it
off to advantage.

For plants of short and stunted growth, having large leaves, a tub-shaped
vessel is chosen ; and for the Wistaria, Lespedeza, and Kerria Japonica some kind of
suspended receptacle is preferred.

Other general directions are given as to the style of arrangement suited to
special kinds of vessels.

In Hooked-vases the floral design should suggest plants hanging over a cliff,
and must be arranged in the horizontal-triangle style, with or without a Streamer. In
vases of this class, having a mouth at the side, the lines of the flowers must not cut
the edge of the aperture.

78

ARRANGEMENT OF FLOWERS.

In Standing-vases of bamboo, with two openings, the upper mouth should
hold a tree and the lower one a plant, in accordance with natural scenery in which
the tree branches occupy a higher position than the plants.

Often the same flower is used in both mouths
of the same vessel, in which case some such distinc-
tion as the following exists : — Supposing Pine branches
to be arranged in both openings, a style called the
Hill and Valley Pines is adopted, in which the top
branch represents the Pine trees on the summit, and
the lower branch those at the base of the hill. The
idea of distance must be suggested in the former, and
that of proximity in the latter.

If the bamboo vase have one top opening
and two side apertures, a composition called the Hill,
Plain, and Water style is followed. To convey this
idea a mountain tree is placed in the top, a land
plant in the middle, and a water plant in the bottom
opening.

Fig. 15.

Sometimes an arrangement exactly the reverse of this is devised in order to
express the notion of a distant landscape with a mountain lake above, fields on the
hill slopes, and a forest at the base. In such a composition, the uppermost mouth of
the vessel contains a water plant, a land plant is 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 proportions, and the water plant at the top must be kept small
and cramped in character to suggest distance.

In arranging flowers in tall bamboo vases of several mouths, the composition

in the upper openings should assume the form of the horizontal or leaning triangle,

whilst that in the lowest mouth should be treated in the style of the vertical triangle,
(see Fig. 15).

In the case of a pair of Well-buckets, the upper vessel should have a tree
and the lower one a plant. The rope should be kept sprinkled with spray as if

FLOWER VESSELS. 79

covered with dew. Neither of the compositions in the two Well-buckets must be
allowed to cross the line of the rope or chain which suspends them. Instead of the
ordinary flower fasteners, Well-buckets generally have a perforated lid or frame which is
fitted in the top just above the surface of the water. When these vessels are arranged
in combination with a Well-frame, the upper bucket is suspended and the lower one
rests on the edge of the frame, and in such a case the lower vessel may show water,
but the upper one must preserve the idea of an empty bucket, and by no means must
the water it holds be visible. In Spring time the floral design in the upper bucket
should be the fuller of the two, but in Summer time the lower one should contain
the more crowded arrangement. In Autumn both compositions should be simple and
quiet. For arrangements in double Well-buckets the lower floral design should be
of the style used for standing vases, and the upper one of the style employed for
suspended vessels, with a lateral lean and a Streamer. Flowers arranged in square
buckets should never be placed exactly in the angles or corners of such vessels.

In the kind of double bamboo vase called the Row of Piles, the higher tube
should contain a land plant and the lower tube a water plant.

In the Bridge-newel-vase, a cylindrical vessel with a top mouth and an oblong
side opening, the top of the vase should have a thick stump or heavy arrangement of
tree branches, and the side aperture should contain some simple plant, modestly arranged.

In Floiver-baskets, those with arched handles should have the flowers arranged
so as to keep within the enclosure of the handle and not cross it. In very elaborate
compositions this rule is sometimes violated, but in such cases the cutting or crossing
must only take place on one side, and by no means in the centre of this side. The
handleless baskets are generally hooked vessels, and flower arrangements in them are
disposed as for this class of receptacles.

In Sand-basins, if a tree be used, it must be supported by a plant of some
kind. Plants alone may be combined, but the composition must in such a case be full
and strong to give it an appearance of solidity. Trees or plants arranged in these
vessels are often divided into separate groups divided by a space (see Plates XXII
and XXXVIII). If trees are used, the interval between each clump is technically
called the Valley-space, and it should be equal to about one tenth the height of the
arrangement. If water plants are used in divided groups, the distance between them
is regulated in the same proportion, but different terms are used to denote this

8o ARRANGEMENT OF FLOWERS.

spacing. Supposing such water plants to be arranged side by side and in a line, the
composition is said to have the Fish-swimming style, but if the flowers are placed one
in front of the other they are said to be composed in the Fish-sporting style. By a
curious fancy an analogy is here drawn between the relative position of the plants in
such broad vessels and that of fish either swimming or sporting in a lake or stream.
The arrangements of trees or plants in water basins, whether in single or double
groups, must be always more towards one side of the vessel than the other, all formal
and symmetrical compositions being disliked.

In Horse-tubs the employment of tree branches is prohibited, and plants of
one or two kinds must be used. With regard to spacing, the same rules apply as
are given for Sand-basins.

If a pair of similar vessels containing floral compositions be used side by
side, the flower arrangement in one should be as nearly as possible the reverse in
form of that in the other, but the colours of the flowers should be varied. For
example, one vase may contain a red and the other a white flower, with the stems
or branches of both disposed in nearly similar lines. These symmetrical arrangements
are not, however, often resorted to.

In Flower chariots it is usual to arrange the seven flowers of Autumn ; with
these are sometimes combined other Autumn grasses, making the number up to nine
or eleven different kinds of plants. Such elaborate combinations, which are not gener-
ally allowed in other flower vessels, are 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 nearly full, and during the hottest days of Summer brim-full to overflowing,
the rim of the vessel being oiled so that the water actually seems to pile up above
the edge. In Winter time the vase should only be four fifths full, or as little as
seven tenths in the coldest season.

When water plants and grasses are arranged in broad shallow vessels, the
water forms part of the composition, and the different portions of its surface are

FLOWER VESSELS.

Hi

accordingly regarded as having different properties. The water nearest the flowers is
supposed to be moving and life-giving, and must therefore be free from floating matter;
the portion removed from the flowers is considered stagnant and may contain floating
weed or leaves.

To add more to the fresh
appearance of floral compositions it
is customary to sprinkle the outside
of vessels with spray, conveying the
idea of dew. Metal vases should not
be wetted, but nearly all pottery or
porcelain vases are so treated after
the flower arrangement has been
made. The Celadon vase is said
to form an exception to this rule,
because it becomes naturally covered
with moisture.

It often happens that a vase filled with water, but without any floral
composition, is used in the alcove of a chamber. Such an arrangement is resorted
to when there is a picture on the wall of the recess representing some flower of the
season, in which case a few petals of the flower represented in the painting may be
put into the water of the vase. A vessel containing water only is an appropriate
ornament for the chamber at a Moon-viewing party, or when a picture of the full
moon is displayed, the intention being to suggest the idea of the moon reflected
in a lake. Sometimes a few maple leaves are placed in the vase in order further
to sustain the idea of a natural sheet of water.

STONES AND ROCKS.

In addition to the flowers, vessels, and fasteners, all of which contribute to
the completion of a Japanese floral design, stones or rocks are sometimes added to
arrangements of water plants and play an important part in the compositions. These
stones represent in some cases the large bowlders which form stepping stones over
streams and lakelets, in other instances they are meant to suggest islands in extensive
water scenery. Again it sometimes happens that land and water plants are used in

82

ARRANGEMENT OF FLOWERS.

combination in a large shallow vessel and then the stones are disposed so as to
suggest the dry bed or the banks of an adjacent river. Both white and black stones
are employed, the white ones being placed near to the flowers, and the dark ones
in parts of the water where there are no flowers. The flowers are arranged in
front of or behind the stones and must not appear to grow out of them.

The chief ornamental stones in a flower basin are generally distributed ac-
cording to the favourite triple principle which is applied also to the lines of the flower
composition, under the distinguishing designation of Heaven, Earth, and Mankind, con-
veying in the present case the idea of elevation, horizontality, and intermediate height.
One stone is of vertical character and supposed to resemble a mountain, one of flat
and nearly horizontal character, and the third, which is placed between the other two,
partakes of an intermediary character. Other stones of secondary importance are added
to set off the larger stones and generally to connect the whole composition.

The use of such stones may be seen in Fig. 23, where they are arranged in
a large basin together with Wistaria flowers. In Fig. 16, on the previous page, is
shown a fancy arrangement in which blocks of charcoal are employed instead of stones.

FLOWER TRAYS AND STANDS.

All standing; flower vessels, with the exception of the Flower-baskets, are placed

upon a square tablet of polished or lacquered
wood interposed as a protection between them
and the surface of the dais or shelf on which
they stand. A story is related elsewhere which
accounts for the absence of such tablets under
standing flower-baskets, but a very reasonable
explanation seems to be that these baskets cannot
themselves stain or damp the dais, as they con-
tain an inner vessel which holds the water and
the flower stems. Even such a simple object as
the vase tray or tablet has its fixed measure-
ments, and a few fancy forms in the shape of
fans, circles, or segments are not uncommon.
Sometimes this flat tray is replaced by a small

FLOWER VESSELS. 83

ornamented stand or table of carved or lacquered wood, intended to raise and give
more importance to small flower arrangements. As previously stated, excepting in
the case of the low tub-like vessels, intended to suggest water scenery, and used for
water plants, the surface of the water and the fastener holding the stems in the vase
should be a little above the eye level of the seated spectator, so as not to be visible
without effort.

Some flower stands exist which are of considerable height, having' a bottom
shelf. These are used for Incense Meetings, in which case the top of the table
carries an ornamental incense burner, the shelf below being occupied by a vary simple
flower arrangement (see Fig. 18). Examples of different trays and stands are shewn
in Plate XXb.

t-

c

♦

~i\

pq

X
H

P-,

^

"^

L

i

<

N\

k

■sJ

t-

OH

ffl

tlll^

_^L

p :.

^

=^

ft

r.

PQ

E

E

3

PQ

*

Gf

&

X

w

PL,

<-

**-

T

(T

=^

J

^

(f

V

SJ

t

i

<

*

(r

^

rr

V4

_-y

(T

\.

■J

<

I

POSITION OF FLOWERS IN ROOMS.

•jffll LL important rooms in a Japanese dwelling, large or small, are provided with
Afl\ an ornamental alcove or recess called the Toko-no-ma. In chambers of a
/v^T superior class this recess is of grand proportions, occupying the right hand
^*- half of the side wall, and is furnished with a raised floor, polished and
lacquered, and a handsome corner pillar of rare wood. The remainder of this
wall, to the left, is occupied by a corresponding recess fitted up with ornamental
shelves and cupboards, collectively called the Chigai-dana, on account of their pictur-
esque irregularity of arrangement. The division between these two alcoves is marked
by an ornamental pillar in front, and is sometimes filled in with a thin plastered
partition pierced with a window-like opening. If the Toko-no-ma is to the left
and the Chigai-dana to the right, this characterizes the room as one of secondary
importance. In some chambers the Toko-no-ma is used alone, without the adjoin-
ing shelves, in which case it appears to project into the room, the corner pillar
standing forward. It is this recess in all Japanese dwellings which contains the
principal moveable decorations, and to which attention is mainly directed as the
point of interest in the room. Here the householder displays one by one his
choicest art treasures, and it is in front of this alcove that the most honored guest
is placed.

The back wall of the Toko-no-ma is the surface upon which the Kakemonos or
rolled pictures are exhibited. These paintings are hung singly, in pairs, in triplets,
and occasionally in fours. The floral design is placed upon the dais of the recess,
below and to the front of the pictures, unless a hanging arrangement of flowers be
used, in which case it is suspended from the lintel or ceiling, or hooked to the pillar
of the alcove.

It is considered important that the floral composition should not in any way

86 ARRANGEMENT OE FLOWERS.

clash with the pictorial arrangement, either as regards position, line, subject, or
sentiment. The two together must form a harmonious decorative composition.

When only one wall-painting is exhibited, the vase of flowers in front should
be placed, as a general rule, rather to one side ; if two pictures are hung, a single
floral design should occupy the interval between them ; in the case of three pictures,
two vases of flowers should be used, one opposite to each interval; and with four
paintings, three flower compositions are employed in a similar manner. In the last
case, instead of using three floral arrangements, the central space is sometimes occupi-
ed by a statuette or incense-burner.

Vases containing flowers are often elevated upon a small raised stand or
table instead of the flat board or tablet which is placed under most flower vessels.
One kind of table used has a shelf below, on which a very simple floral design may
be arranged, and when so employed the top of the table supports some other
ornament.

The proportions of the Kakemono or hanging picture influence the disposition
of the flowers on the dais. In front of a long painting the floral composition must
be kept as low as possible, but when a short and broad picture is displayed the
flowers may stand high and full in arrangement. The object of this rule is to prevent
the mural painting from being hidden by the floral design. The same result is
often obtained by placing the vase of flowers to one side of the recess, instead of
in the centre. It is sometimes unavoidable that the flowers cover part of the picture,
but under these circumstances special care must be taken not to hide that portion
bearing the stamp and signature of the artist. The centre, ends, and tassels of the
ornamental roller forming the bottom border of the painting must also be always
unobstructed. When the pictorial work contains figures, the features of these figures
must on no account be hidden by the branches of the flower arrangement, and if,
as occasionally happens, the picture is inscribed with a poem or proverb, this writing
must not be obscured.

It is moreover important that the flowers should accord in character and
sentiment with the picture before which they stand. Occasionally this principle is
carried so far that the floral group becomes, as it were, a continuation of the scene
delineated in the painting, but when this result is aimed at, great care should be
taken that the one does not detract from the value or excellence of the other.

PLATE XXVII.

JAPANESE INTERIOR WITH ARRANGEMENT OF SPRING FLOWERS.

•;

*

S '«

. . .$>

•

POSITION OF FLOWERS IN ROOMS. 87

Thus, if the picture represents lake or river scenery, it is preferable to adopt
a floral composition consisting of water plants, of the kind that might actually exist in
the foreground of such a landscape. It is, however, necessary to avoid using in the
vase flowers of the same kind as any depicted in the painting, because such a
juxtaposition would inevitably tend to detract from the excellence of the picture, which
must suffer by a close comparison with nature. For example, supposing a picture of
blossoming Plum trees to be hung to the wall of the recess, the vase on the dais in
front should not contain Plum blossoms but some other seasonable flowers. Under
special circumstances courtesy might demand the violation of this rule, in which
case the floral arrangement should be rough and unassuming, so as to detract as
little as possible from the skill of the painter. In front of a painting representing
some flower of the season it is not unusual to place a vase of water containing
a kw fallen blossoms and petals of the flower represented ; in this way the idea of
the picture is continued, without occasioning invidious comparisons.

As explained in a previous part of this work, an important distinction is
observed between flowering tires and plants. The rough and bold character of the
former, in comparison with the softer and more graceful nature of the latter, renders
a judicious combination of the two, in floral arrangements, productive of pleasing
variety. The same principle of combination is applied to the connected arrangement
of floral design and wall picture ; and it is considered preferable, if the painting dis-
played represents flowering plants, that branches of trees should be used in the flower
composition, and vice versa.

Again, if the hanging decoration be a Chinese manuscript, and not a painting,
the arrangement of flowers in front must be simple and modest in style ; and if the
work of a very famous caligrapher, poet, or painter, be exhibited, it is often best to
have no floral composition at all. In ordinary cases, if a verse of poetry be displayed
in the recess, the flowers may assist to illustrate the poem; thus, with verses de-
scriptive of the beauties of Chrysanthemums or Pine trees, the flowers of the Chrysan-
themum or branches of Pine should be employed in the vases in front. Some Schools
lay down a rule exactly the reverse of this, holding that natural flowers should not be
placed before a sonnet extolling their beauties, as they are apt to restrict the
imagination and detract from the pastoral sentiment conveyed in the poem.

Reference has been made elsewhere to the double associations from animal
and vegetable life, used as favourite art motives by the Japanese. Such combinations

88 ARRANGEMENT OE E LOWERS.

are ; — Bamboos and Sparrows, Lions and Peonies, Nightingales and Plum blossoms,
Deer among Maples, Wild-horses amid flowering grasses, and many others that
might be mentioned. A combination of flowers and picture so as to produce a
connected composition of this sort is considered very desirable. According to such
a method of combination a picture of Deer requires in front of it an arrangement of
Maples, a painting of Horses needs wild flowers, one of Lions necessitates the use of
Peonies, and representations of Dragons demand Pine branches for the floral design in
the foreground. In the same way with figure paintings, when the figures represented
are traditionally associated with particular trees or flowers, such flora should if
possible be employed for the flower arrangements used before them. When, for
example, a picture of Hotei, one of the Gods of Fortune, is displayed, Bamboo
branches should be disposed in front, and before pictures of Chinese children, a
common subject with Japanese painters, coloured flowers are appropriate.

The connection of idea between the wall painting and the floral composition
is occasionally one based upon the reputation of the painter or upon some fiction with
which his name is associated. A famous Chinese painter called To-cmmci, whose
works are greatly valued in this country, is said to have professed a great passion
for Chrysanthemums, hence, when a painting by this artist is displayed, it is customary
to use Chrysanthemums in the flower arrangement. Plum blossoms are reported to
have been the special fancy of another great painter — Rin-nasci, and these flowers are
therefore placed before his pictures.

This kind of combination is quite irrespective of the subject of the paintings
except in cases where other important rules would be violated. If the particular
flowers required are represented in the paintings, it would then be an error to use
the same natural flowers in front. Such a selection would not only be redundant,
but would tend to detract from the excellence of the painting. It must also be re-
membered that the pictorial hangings in a Japanese room are frequently changed and
are not displayed continuously throughout the year as is the custom with oil paintings
in European rooms. They are quite as much an expression of the season and
occasion as the floral compositions themselves. The contingency, therefore, of pictures
requiring flowers which are out of season, and not obtainable, could hardly occur.
To return, by way of explanation, to one of the examples just quoted, it would be
obviously incongruous to place Plum blossoms, the flowers of early Spring, before a
painting by Rin-nasci, if such picture represented an Antumn landscape; but such a
subject would not be displayed during the season of Plum blossoms, because it would

POSITION OF FLOWERS IN ROOMS. 89

be considered out of place as a decoration for that time of year. In fact, one of
the charms of Japanese mural decoration is this constant harmony between the art
motives employed and the particular period of the year. One is not called upon to
study snow scenes in Summer or mountain torrents in Winter time, for the pictorial
design which occupies the place of honor in the chamber is always in tune with the
present, and conveys a sentiment in harmony with the special season and occasion.

The floral compositions as well as the wall pictures must accord in character
with the chamber itself. Thus, for a superior room of handsome dimensions, the
Kakemono should be the work of a famous painter or caligrapher, and the flowers
should be full and showy in arrangement. The work of a young painter of little
repute, or a floral design of a very simple or rough character would be considered out
of place in such important rooms. But for a chamber of secondary dimensions and
importance, rare pictures and elaborate floral compositions would be inappropriate. In
very small rooms it is better entirely to dispense with a painting when flowers are
exhibited, supplying the place of the picture by a simple tablet.

Besides the above orthodox methods of combining pictorial hangings and
flower decorations, other fancy combinations are sometimes resorted to. In a large
chamber recess, suited for two or three paintings, when one picture only is exhibited,
there is a manner of using flowers, and at the same time expressing the idea of
three pictures, by hanging on either side of the painting vases of flowers attached to
mural tablets. The flowers thus employed must not be the same as any represented
in the central painting. A similar treatment is followed with two pictures, by placing
one hooked floral design in the centre. Such arrangements are considered more
perfect if they form one connected idea with the picture or pictures. Taking the
example of two paintings, one of a Tiger and the other of a Dragon, a vase of
Bamboo branches might be hung in the centre, because the Tiger is always represent-
ed in Japanese pictures as roaming in Bamboo groves.

Reference has been made before to the ornamental tier of three shelves in
a Japanese chamber, placed at the side of the principal recess or Toko-no-ma. Im-
portant floral designs should occupy the dais of the Toko-no-ma, but for small and
secondary arrangements the Chigai-dana or Irregular Shelves are often employed. As
already explained in the case of the three openings of a high triple-mouthed vase, so
for this tier of three shelves, triple arrangements of flowers should follow the natural
distribution of growth observable in real scenery. For the top shelf, thick and moss-

go ARRANGEMENT OF FLOWERS.

covered tree branches are chosen, for the middle shelf young tree branches or land
plants are selected, and for the lowest shelf a composition with water plants should
be employed. If tree branches be placed on the middle shelf, then the lowest shelf
may have land plants instead of water plants. In the same recess, and in combination
with the shelves, there is occasionally constructed an ornamental cupboard about
eighteen inches or two feet in height. The paper slides of such cupboards are often
painted with flower designs, and, in this case, care must be taken not to use natural
flowers of the same kind in vases placed on the adjacent shelves.

Strict rules are established as to the exact position in the Toko-no-ma or
principal recess to be given to suspended vessels. First, with regard to Boat-shaped
vessels, it is stated that in ancient times they were hung at a distance of about three
feet from the ceiling or lintel, and exactly in the centre of the recess. In later times
it became customary, however, to suspend them, at a distance equal to about a
quarter of the span of the recess, from the corner pillar, which is always on the
guests' side of the room, being that nearest the light. If, as is not uncommon, two
Boats are suspended together, the upper one should be about sixteen inches below the
lintel, and the lower one about the same distance above the floor of the recess; but
this height is sometimes changed is order to suit the wall picture.

The direction given to the prows of such vessels, so as to suggest different
ideas of motion, has been already explained. Boats are in some cases hung to the
under sides of ornamental shelves or cupboards.

Well-buckets are not considered suitable for the recesses of important rooms,
unless they happen to be a present from a superior, in which case they may be given
the place of honor; they are, however, frequently resorted to in second class rooms.
When one bucket only is used, it is placed standing upon the floor of the recess,
raised about fifteen inches from the surface by a stand of some sort, and removed
about eleven inches from the corner pillar. Square buckets must be placed angle-
wise. In the case of two suspended buckets, supposing the height from floor to lintel
of the recess to be divided into three parts, the top of the lower bucket should be one
third and the top of the upper bucket two thirds of this height, from the dais. The
bottom of the lower bucket thus becomes about eighteen inches from the floor of the
recess, and is supported upon a small table, or the edge of a stand representing a
well-frame. The position of the well-pulley will be about one third of the span of
the recess from the corner pillar, and the rope of the lower bucket being inclined

POSITION OF FLOWERS IN ROOMS.

9i

and tort it will be brought well to the side of the recess. If, as is usually the case,
flat-sided buckets are used, one will have its sides parallel to the wall and the other
will present its angle. Occasionally the above mentioned proportion as to height is
violated, and the lower bucket is placed immediately upon the floor, with the in-
terposition only of a board. A style exists called the Mossy-spring-buckets in which
this board is sprinkled with stones and moss. Sometimes a slab of decayed wood,
or an irregular row of bamboo tubes resembling a Japanese drain-board, are used
under the lower bucket. The Piled buckets, consisting of two standing buckets, one
supported on the edge of the other, are placed upon a flat drain-board immediately
on the floor of the recess, and near to the corner pillar. One of these should be
parallel to the wall and the other placed diagonally.

Hitherto flower compositions have been considered with reference to their
disposition in the permanent recesses of chambers, either in the Toko-no-ma, or on the
fixed shelves of the Chigai-dana. Other
fancy arrangements, having no connection
with the chamber recesses, also exist,
though they are rare. Among such may
be mentioned the arrangement of floral
designs upon Cabinets, and Flower-horses.

The Flower-horse is so named be-
cause it is made in imitation of the orna-
mental clothes-horse or frame which is
used in Japanese sleeping apartments,
either for hanging the garments upon, or
for carrying large strips of rich curtaining
serving as screens. The construction of
such Flower-horses consists of two vertical
and two horizontal bars of lacquered wood,
framed together with the top bar project-
ing at the ends, the bottom bar being Fig. is.
steadied and supported upon short cross-pieces. Such frames measure about five feet
square. In the example given in Plate XXVI, vessels of different kinds containing a
variety of floral arrangements are hung to the side posts and cross-piece. From the
centre is suspended a crescent-shaped bronze vessel containing an arrangement of
small Chrysanthemums and a trailing Vine ; from the right hand pillar are hung a

g2 ARRANGEMENT OF FLOWERS.

cylindrical bamboo vase, with side mouth containing a drooping arrangement of
Patrinia scabioscefolia, and, below, a globular basket with a composition of Carnations
combined with the branch of some tree ; and to the left hand pillar are fastened a
hooked bronze vase with Papavcr rhccas, and, below, a horn-shaped bamboo vase
containing a double arrangement of PlatycoJoi; grandiflorum with Barley.

There exist also fancy kinds of flower-stands consisting of the Flon'cr-horsc
combined with shelves and cabinets, and on which standing, hooked, and suspended
flower compositions are arranged.

Flower-cabinets, in their simplest form, consist of two small shelves of differ-
ent heights connected by vertical and horizontal framing, lacquered black, and orna-
mented with metal. For the upper shelf of such cabinets a drooping floral design
is generally adopted, and for the lower shelf a standing arrangement. In the example
shewn in Plate XXVI, the top shelf supports a bronze vase with trailing Ivy, and
the lower shelf a porcelain vase containing Asters. The same illustration shows a
fancy cabinet called the Thatched-kiosk. It consist of a bottom board, with raised
shelf supported on bamboo posts, and covered by a rustic thatch-roof. The shelf
carries a bamboo vase from which springs a creeper, arranged to pass over the roof
and hang down the side as a Streamer.

Other articles of furniture are sometimes pressed into service for the display
of flowers. An example exists of a triple gong-frame, with one upper and two
lower openings, from the cross bars of which cylindrical bamboo vases containing
different kinds of Peach blossom are shown suspended.

A great fancy prevails for collecting and displaying together different kinds
of blossom of certain favourite trees and plants. The use of distinct varieties of the
same blossom in one arrangement is 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 famous regent Hideyoshi is said to have devised an
arrangement of five baskets of green bamboo disposed on the two shelves of a
Flower Stand and containing different varieties of the Cherry blossom. Such arrange-
ments, however, belong more to gardening than to chamber decoration.

Some writers go so far as to say that the floral design in a chamber should
have a contrast in style with that of the adjoining garden. This fancy is better

POSITION OF FLOWERS IN ROOMS. 93

appreciated if it be remembered that during a great part of the year the outer walls
of the house, which consist almost entirely of paper slides, are thrown completely
open. If there be a landscape garden adjoining, consisting of lakes and hills, the
floral arrangement in the room should by preference partake of a moorland character ;
but if the garden be level and waterless, then water plants or mountain trees should
be selected for the flower decorations of the chamber interior.

%

PLATE XXVIII.

JAPANESE INTERIOR WITH ARRANGEMENT OF SUMMER FLOWERS.

'

K

>'

-."%-

«

*!

J*;

>0

CEREMONIAL AND ETIQUETTE.

II HE Art of arranging flowers in Japan is essentially a polite accomplishment,
$r) 11^ an<^ 's governed by important rules and restrictions as regards etiquette and
ffifd ceremonial. It is presumed that all floral designs are made mainly with
^S^> the object of giving pleasure to visitors ; and on certain
ceremonial occasions they are actually intended to convey a
silent compliment to the principal guest. Receptions given in
rooms where flowers are arranged often partake of the charac-
ter of Flower Meetings, the guests in turn inspecting and admir-
ing the host's floral compositions, or being called upon by him
to make arrangements of their own.

In attending such a reception, the visitor should leave
his fan in the ante-chamber 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 should be placed on the knees, while the other
respectfully touches the mats in front, the body being slightly
bent forward. It must be remembered that there is always a
supposed connection between the pictures, which adorn the
wall surface of the recess, and the floral arrangement stand-
ing or hanging in front. The guest should therefore first
regard the Kakemono or picture, and if, as is often the case,
there are three of these, he should examine first the central,
then the left hand, and lastly the right hand one. Having thus
bestowed his admiration upon the background of the scene, he
may slide a little closer and inspect the floral composition in
the foreground. In doinsf so he should first observe the central

HI?

Fig. 19.

96

ARRANGEMENT OF FLOWERS.

line of the flower arrangement, and then gradually examine left and right, and from
top to bottom of the composition ; lastly, with a word of apology for so doing, he may
inspect the manner in which the stems are held at the bottom, this being one of the
most difficult parts of the technique. It is considered impolite to put the face behind
the branches and peer too closely into the flowers. After such inspection the guest
slides a little back and regards the whole composition from a respectful distance, using
some suitable expressions of admiration. Rules of etiquette actually go so far as to
give the exact words to be employed in admiring different designs ; for it is considered
bad taste to apply indiscriminately exaggerated terms of praise not in keeping with
the character of the particular flowers. When inspecting hanging floral arrangements
the seated attitude should be changed for a standing and stooping posture.

A visitor is often invited to make an extemporary arrangement of flowers,
for which purpose he is presented with certain suitable flower stems, or blossom-clad
branches, and all the necessary utensils and implements. On such occasions the

host must provide a vase, three
quarters filled with water, which
should be placed in the centre of
the recess upon a tray or table
spread with a sheet of paper.
In addition to this, a flower
tray with two or three kinds of
cut flowers, just as they were
gathered, with withered leaves
and dead twigs all left intact, a
pair of scissors, a knife, a small
saw, and a folded flower cloth
or duster, must be placed on the
dais to the left of the vase, or
in some convenient position on
the floor of the chamber. The
length, width, and manner of folding the flower cloth are all prescribed. Near to
the above utensils and implements must be placed a water jug full of water, and
several forked twigs suitable for Floiver-fasteners. These various tools and utensils
are illustrated in Fig. 20.

After asking a guest to arrange flowers, the host should commence to roll

CEREMONIAL AND ETIQUETTE. 97

up the Kakemono which adorns the recess, as it is considered to be demanding too
much of a visitor to expect him to extemporize a flower arrangement in harmony
with the picture which happens to decorate the recess at the time. The guest may,
however, prevent the painting from being removed ; thereby tacitly undertaking to make
his flower composition accord with it. Should the master of the house produce a very
rare and valuable vessel for holding the floral arrangement, it is polite for the guest
to make objections, pleading want of sufficient skill to do justice to so precious a
receptacle. If pressed, however, he must attempt a simple and unassuming arrange-
ment of flowers, so as not to detract from the merit of the vessel itself. Should
the host produce an insufficient quantity of cut flowers, the guest must make the
best of them and on no account ask for more.

The visitor who is about to make a floral composition approaches the recess
in which the flower vase is placed, and seats himself sideways towards it, facing the
light, which in chambers of a superior kind is on the left side. He then fixes the
flowers as quickly as possible, changing his position in order to regard them from a
point immediately facing the recess, and altering and correcting them from this position.
If the arrangement is intended to have a connection of idea with the hanging picture,
it is placed fronting the edge of this picture, on the side nearest the light ; but if no
connection is intended, then it may be disposed centrally. Under no circumstances
must the floral design project beyond the corner pillar of the recess. Having com-
pleted the composition, the designer should, as a matter of compliment, ask his
entertainer to fill up the vase with water, and if this request be declined, he may
then replenish it himself; he should not, however, press the host on this point,
because a correct apportionment of the amount of water suited for different arrange-
ments requires considerable knowledge of the flower art, and it is possible that the host
may decline on account of ignorance. When the water is filled in, the stand of the
flower vase is wiped, and the different implements, with the exception of the scissors,
are all put on the tray, and placed near the serving entrance or right hand side of
the chamber. The scissors are purposely left near the flowers as a silent and modest
invitation to the master of the house to correct faults. The host brings the dust
pan and brush, sweeps up any fallen leaves or litter, and removes the tray of tools.

If the hanging picture has been removed during the arranging of the flowers,
the guest must now re-hang it, and see that the floral composition is placed so as
not to clash with it in any way. When the whole arrangement is completed, the
host and any other visitors present, who have meanwhile remained in an adjoining

g8 ARRANGEMENT OR R LOWERS.

room, enter, and approaching in turn the Toko-no-ma or recess in which the flowers
are placed, salute and inspect in the manner previously described. The master of the
house naturally confines his admiration to the floral arrangement, but the guests
should also find compliments for the receptacle in which it is placed. After the
Flower Meeting is concluded and the visitors retire, the guest who has arranged the
flowers should remove them from the vase, placing them upon the board on which
the vase stands, or on the wash-basin of the adjoining verandah ; unless he is specially
requested to let his work remain, it is considered presumptuous for him to quit
without destroying the evidence of his skill. This rule does not apply to visitors
of very superior rank, who may be considered to show honour to their host by
leaving: their desigms intact.

Politeness during such meetings is considered so important that, if a rule
happens to be violated through ignorance or incapacity on the part of the entertainer,
the guest must do his best under the
circumstances, and must do nothing to call
attention to the error. As an example may '
be given the instance of a host producing
scented flowers for a visitor to arrange at
an Incense Meeting, which is an occasion on
which all flowers with perfume are prohibited.
The guest must in such a case use the
flowers, removing the full-blown blossoms, and
making an arrangement of buds alone in as
simple and unassuming a manner as possible.

In giving presents of cut flowers
for the purpose of flower arrangements, they
must not be trimmed, or they will look as if
they had been previously used. The sender
must, however, consider how they are capable
of combination into a floral composition, and
must include stems and branches suitable for
the accessory parts of the design. Such
flowers should have the bottom of their stems
placed in fancy paper wrappers. The form
of paper wrapper suited to tree branches and

CEREMONIAL AND ETIQUETTE. 99

that used for plants differs slightly. When flowers are offered as presents the number
of buds should exceed that of the open flowers, and they should be accompanied with
withered or worm-eaten leaves, and cobwebs, all left intact so as to look as if the
flowers were freshly gathered. The recipient of such presents should carefully consider
how the cuttings can best be arranged without injury or extensive alteration. If they
appear to him quite unsuitable for a proper floral composition, it is better to place
them in a vase as they are than to attempt a formal arrangement. In Fig. 21
is shown a branch of Plum blossoms held in a paper wrapper.

Presents of flowers are sometimes made to superiors in a kind of band-
bucket, which should be of white wood and quite new. Several sorts of flowers are
generally placed in such vessels, which are furnished with lids perforated with four or
eight square holes for the purpose. When such a present is received, it may be
put on one of the shelves of a recess in a reception room, an empty vase being
placed on the dais.

In a previous part of this work flowers considered specially felicitous during
particular months have been enumerated. It remains, however, to consider, under the
head of Ceremonial, certain floral arrangements which are fixed for important festivals.
Of the numerous fete-days celebrated in Japan, may be mentioned first that of the
New Year, and then the five great festivals called Go-sckku. The Go-sekku occur in all
the months of the year of odd number, with the exception of the eleventh month, and
in four cases out of the five fall on the day corresponding to the number of the month.

FLOWERS FOR THE NEW YEAR.

For the floral decorations of the New Year it is customary to adopt a com-
bined arrangement of Pine, Bamboo, and Plum branches in a large bronze or porcelain
vase. These flowers are however sometimes used separately, in which case the Pine is
displayed on the first, the Bamboo on the second, and the Plum on the third day
of the year. In some cases a vase of green bamboo, with twigs and leaves left on,
is used to hold branches of Pine and Plum trees, the floral triad being formed by
including the vase itself. The Willow is a favourite tree for use in hanging composi-
tions at this season; and plants such as the Adonis amurensis (Fukuju-so), Rhodea
japonica (Omoto), and Ardisia japonica (Yabu-koji), are often employed in combination
with the Plum.

ioo ARRANGEMENT OF FLOWERS.

FLOWERS FOR THE "FIVE FESTIVALS."

The seventh clay of the New Year is the first of the Five Festivals (Go-sckku)
and is called the Fete of the Seven-grasses (Nana-kusa). This festival is of Chinese
origin, and its meaning is involved in some mystery, hut it is undoubtedly connected
with ideas of luck in the number seven. At its celebration seven different herbs are
struck with seven different household tools, and divine protection is invoked against
the evils of the year. The flower arrangements adopted on this occasion do not differ
from those used for the first three days of the New Year.

The third day of the third month is the second of the Five Festivals, and is
called the Fete of the Dolls. It is the national fete for girls, which they celebrate
by displaying richly attired images representing the Emperor and Empress surrounded
by courtiers. On this occasion Peach blossoms, Willow branches, Cherry blossonrs,
the Rhodea japonica, and Rosa indica, are chosen for flower designs.

The third of the Five Festivals, falling on the fifth day of the fifth month,
is the Fete for Boys, called, by the Japanese, Tango. On this day large painted paper
fish made hollow so as to fill and float with the wind are placed on high bamboo
poles in front of the dwellings, together with standards and other ornamental signs,
each male child of a household being entitled to display one fish. The flower most
honoured on this occasion is the Flag or Iris. A kind of early Chrysanthemum,
and a particular sort of Bamboo, called the Moso-chiku, are also used.

The next festival falls on the seventh day of the seventh month and is
called the Fete of Tanabata. It is the celebration of the meeting of two stars, and is
supposed to be a day of very good omen. Slips of paper inscribed with poems and
leaves of bamboo are hung up as ornaments on the occasion, and a general feasting
takes place. The flowers used for compositions on this holiday should be Platycodon
grandiflorum (Kikio), Bamboo, and Anthriscus arguens (Karukaya), arranged together, or
Patrinia scabiosafolia (Ominaeshi) employed singly. A special arrangement consisting
of a couple of suspended bronze boats, called the Facing Boats, because their prows
face, and containing paper Chrysanthemums, is used. The paper flowers should be
of seven colours, and among them should be one real flower. To the Streamer of
the floral design in one boat should be hung two, and to that of the other, five
loops of silken cord of five different colours, — white, yellow, blue, purple, and red.
These cords are called the Worshipping-cords, being associated with the idea of worship

CEREMONIAL AND ETIQUETTE. 101

to the stars. A somewhat similar method of composition is adopted for standing
vases, seven different flowers being placed in three vessels. The central vase contains
three flowers, of which the Principal should be formed of a branch of the sacred tree
Cleyera japonica (Sakaki), and the other two vases should each hold two flowers. The
floral designs in all three vases must have their stems bound with the Worshipping-cord.

The last of the Five Festivals occurs on the ninth day of the ninth month,
and is called the Fete of Chrysanthemums. Its origin is Chinese, and it is connected
with a fancy that this flower imparts long life to those who imbibe its blossoms in
wine. For this occasion, as the name of the festival implies, the Chrysanthemum is
invariably used for floral arrangements. Flowers of five colours are employed for first-
class compositions, White for the Principal, Light Red for the Secondary, Dark Red
for the Tertiary, Blue or Purple for the Sub-principal, and Yellow for the Support.
Sometimes a design made with flowers of one colour only is fancifully called the
Three colour composition, the green of the leaves and the black of the bronze vase
being included in the colours. The Rhodea japonica (Omoto), and Nandina domestica
(Nanten), are also sometimes displayed on this occasion.

In addition to the Five Festivals just enumerated there are other felicitous
days in the year on which special rules are adopted for the flower arrangements.

For the first day of the sixth month, which is the beginning of the Dog-days
or hottest .season, water plants should be arranged in a sand basin or broad-mouthed
vessel, together with white sand and pebbles, which are supposed to suggest ice.

For the first day of the eighth month, called the Hassaku, the flowers used
should have fruit or berries, and all faded leaves or branches must be carefully
removed. This fete was one specially honoured by Iyeyasu, the first of the Tokugawa
Shoguns, to celebrate his entrance into Yedo.

On the eighth day of the eighth month white flowers should be displayed.

For the fifteenth day of the eighth month, flowers of the season should be em-
ployed, with the addition of a sheaf of the ripe rice-plant in celebration of the harvest.

The above special rules, though hardly applicable to any European adaptation
of the art under consideration, are interesting as showing how a certain harmony of

102 ARRANGEMENT OF FLOWERS.

idea should always be sought between the floral design and the special occasion
celebrated. The following are ceremonies which may occur at any period of the year,
with general rules for their appropriate flower arrangements.

FLOWERS USED AT BETROTHALS.

On this occasion visits take place and presents are interchanged. The flower
or flowers specially felicitous to the particular season, in accordance with the list
previously given, must be used. The Iris is considered specially suited for this purpose,
unless out of season. Some people, however, object to the use of flowers of Purple
colour.

FLOWERS FOR WEDDING FESTIVITIES.

With regard to flowers arranged for weddings, it must be remembered that,
amongst colours, Red is regarded as male and White as female. Hence in the case
of a son-in-law being adopted into the family of his bride, the bridegroom being
regarded as the guest of the occasion, the Principal line of the floral design should
be Red, whilst the Supporting line is of the female colour — White. On the other hand,
when a bride is adopted into the family of her husband, she being considered the
guest of the occasion, the White colour has the central position in the arrangement.
In both cases the stems of the flowers used must be closed, and firmly connected
at the base with coloured cords, called Mizuhiki, to signify union. The Bamboo and
Pine, being always obtainable and specially felicitous, are considered well suited for
wedding ceremonies. They should be placed separately in a pair of similar vases,
the Pine towards the guest's side of the chamber, and the Bamboo towards the host's
side. Purple flowers, Willow branches, and other drooping plants are prohibited for
weddings, as also are all floral compositions placed in suspended vessels. Purple is
considered expressive of mourning, and all loose drooping arrangements imply want of
union and constancv.

FLOWERS FOR COMING OF AGE CELEBRATIONS.
There were formerly two coming of age celebrations for male children, one

CEREMONIAL AND ETIQUETTE. 103

on the occasion of the boy first assuming the ceremonial trousers, and the second
when the long locks were cut off and the youth assumed the cue worn by adults.
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 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, to signify ascent in rank, and the use of withered
leaves or over blown flowers must be carefully avoided.

FLOWERS FOR THE CEREMONY OF RELIGIOUS RETIREMENT.

Upon reaching a ripe age it has always been the custom in Japan to seek
retirement from active life, the head being shaven and a semi-religious ceremony
performed. Floral designs used at such a celebration should consist of berry-bearing
plants or trees, and red flowers must not be employed.

FLOWERS FOR OLD AGE CELEBRATIONS.

Old moss-clad branches, flowers late in season, and second flowerings are
suited to such occasions. Withered branches and flowers which quickly fade or fall
to pieces must on no account be used.

FLOWERS AT FAREWELL GATHERINGS.

There are certain flowers which bloom twice in the same year, and these
are technically called Returning-flowers. Though considered unsuitable for ordinary
occasions, because out of harmony with the season, such flowers are specially appro-
priate for farewell gatherings. The idea in so employing them is to express the
hope for a safe return. Similar arrangements were adopted at feasts before a battle or
campaign.

io4 ARRANGEMENT OF FLOWERS.

FLOWERS FOR THE SICK.

Flowers placed before sick persons should be put together in a rapid and
unlaboured manner, and should be vigorous in style, to suggest the idea of recovery
and strength. At the ceremony of praying for the sick, flower compositions should
be full and gay, as well as bold and powerful in style. The use of the Pine,

Podocarpus macrophylla, and Rhodca japonica should be avoided.

FLOWERS BEFORE HOUSEHOLD SHRINES.

Each household in Japan has generally two shrines, one dedicated to the
household gods of the old Shinto cult — the national deities of the country, and the
other to the spirits of deceased relatives, which is Buddhist. For arrangements of
flowers before the Shinto shrine a full and powerful composition is required. All ugly
flowers, those of strong odour, and those having thorns are prohibited. A special
branch called the Facing-brancli is used behind the Principal line of the composition
and pointing towards the shrine. The floral design placed in front of a Buddhist
shrine should also be full and crowded, but the arrangement should not be laboured.
The front of the design must face the shrine and not the spectator. A story is told
of a Daimio who went to his ancestral mortuary chapel and arranged flowers with
great skill and labour much to the admiration of the chief priest, who, however,
pointedly asked him whether he had made his composition with a desire for public
praise or in reverence for the spirits of the dead. Unable to answer, and struck
with the justice of the reproof, the noble altered the flower arrangement to one more
simple and unassuming. White flowers are specially suited for such designs, and in
all cases as little artificial trimming and bending as possible should be resorted to,
the withered leaves only being removed.

FLOWERS AT DEATH ANNIVERSARIES.

For floral designs from the first to the fiftieth anniversary of a death, a
quiet and simple style must be adopted. White and Yellow flowers are used, and
with them is combined a branch of the sacred tree Cleyera japonica in token of a
religious offering. Sometimes a withered branch is employed for the Principal. As
such flower arrangements must be unassuming, and the composer must not attempt

CEREMONIAL AND ETIQUETTE. 105

to display skill, it is considered ignorant and in bad taste to criticise them, judging
them by the ordinary standards. The selection of flower buds is to be avoided, full-
blown or over-blown flowers being preferred. The use of crossing leaves, or flowers
blooming twice in the year is also forbidden.

On and after the fiftieth anniversary gayer arrangements and even red flowers
may be employed, and the Principal line should be formed with an old moss-covered
branch, a flower of the season being added as an auxiliary. Flowers of ominous
names, such as the Oni-ynri, (Demon-lily) must on no account be used.

FLOWERS AT PRAYERS FOR RAIN OR FINE WEATHER.

There are special rules with regard to flowers which are suited for the
occasions of prayer for rain or fine weather. As it is the East wind which brings
rain, floral arrangements used at time of praying for rain should have their Principal
line pointing from right to left, to suggest the East wind blowing. A reverse arrange-
ment is resorted to on occasions of prayer for fine weather, when the Principal line

FLOWERS USED AT MOON VIEWING.

Moon viewing is at all times a favourite pastime of the Japanese, but the
great moon festival of the year is 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 moon-lit landscape can be enjoyed. The floral arrangement occupies the
recess of the chamber and has of course no real connection with the outside
prospect, but in the flower composition itself the idea of a moon-lit landscape is
expressed. A branch of a Pine tree is used, and between the Principal and Secondary
lines of the composition a special branch is introduced, fancifully called the Moon-
shadow -branch ; a hollow gap also is formed between the foliage, bounded by a
special branch called the Dividing-branch. In the composition the idea is to suggest
both the opening through which the moon can be partially observed, and the dark
branch which appears to cross its surface. To fully appreciate the analogy one
must be familiar with the scenery of Japan, and have seen the irregular Pine trees
standing out against the starry heavens.

106 ARRANGEMENT OF FLOWERS.

FLOWERS FOR HOUSE WARMINGS.

The Japanese word for Red (Hi) is phonetically the same as that which
denotes fire, and as conflagration is the dreaded enemy of the beautiful but perishable
buildings of the country, a superstitious objection exists to the use of red flowers
on the occasion of such celebrations as house-warmings. Flowers whose names
contain the ominous ideograph Hi are also prohibited. Such flowers are, the Helian-
thus (Himawari), Lychnis gvandiflora (Gamhi), Lilium concolor (Himeyuri), and the
Thuya obtitsa (Hinoki). The use of the last, (Hinoki), is specially disliked, as the
wood of this tree was anciently employed for producing fire. By a curious perversion
however, some Schools approve and even favour the use of Hinoki, because the
name is phonetically synonymous with another word hinoki meaning protection from
fire.

For floral designs on occasions of this kind a two-story bamboo standing-
vase is suited, having water plants arranged in both openings, the reason given for
such an arrangement being that water is the extinguisher of fire. Another favourite
combination in Summer is that of a white Magnolia branch with white Irises. In
Winter, suitable flowers are scarce, and the Narcissus is used in the lower opening
of the vase, with water alone in the top.

FLOWERS AT POETRY MEETINGS.

A favourite pastime of the educated classes in Japan in former times, was
the meeting of friends for the composition of verses. Sometimes a flower of the
season formed the subject of competitive versification, and in this case the Enshiu
School held that the flower chosen as a theme, if in season, should be displayed in
a simple and quiet arrangement in the chamber of meeting. Some Schools were,
however, of a contrary way of thinking, maintaining that the particular flowers selected
as subjects for poetical composition should not be displayed at the meeting.

FLOWERS FOR THE TEA CEREMONIAL.

As the chambers in which the Tea ceremonial is conducted are of very
limited size, the flower arrangements must be small in scale, simple, and unaffected.

PLATE XXIX.

JAPANESE TEA ROOM WITH ARRANGEMENT OF AUTUMN FLOWERS.

n?

-

v

CEREMONIAL AND ETIQUETTE. 107

Plate XXIX illustrates a Tea Room with the guests coming in through the low
opening that forms the entrance to these fairy chambers, and having a simple
arrangement of Autumn flowers hooked to the wall of the alcove. The displaying
of the floral design has its proper order in the ceremony. It is not generally
placed in the recess at the same time as the hanging picture. First, some suitable
painting is shown, and a part of the entertainment takes place, after which the
guests retire ; the Kakemono is then removed, and the flower arrangement is prepared
before their re-admission. Partly to avoid keeping the visitors waiting too long, and
partly on account of the severe simplicity of the surroundings, and the austere char-
acter of the entertainment, the flower composition is made as unassuming as possible.
The kind of floral design adopted for Tea Rooms, differs therefore from the ordinary
style, being less elaborate and studied, and is distinguished by the name of the
Thrown-in-style. If a standing vase be employed, the composition consists of the
Principal line used singly ; in a hooked vase, the Secondary line alone is used ; and for
a suspended vessel, the Tertiary line is preferred. If three stems are combined in one
design, they must not be divided, but must be kept together in one line. Flowers used
on such occasions must be well sprinkled with spray, to look fresh and as if covered
with dew. When a Tea ceremony takes place in a large room, instead of the
orthodox miniature chamber, then both the flowers and mural picture may be
displayed at one time. If such meetings are held at night, floral arrangements are
not employed. A hooked or suspended arrangement of flowers is preferred for Tea
Rooms. Red blossoms and flowers having strong perfumes are disliked. The follow-
ing flowers are also objected to : — Patrinia scabiosafolia, Cherry, Rose, Lotus, Cnicus,
Calendula officinalis, Nnphar japonicum, Celosia argenfea, Illicium rcligiositin, Orchid
Pomegranate, Daphne, Lespedc::a, Drooping Lily, Drooping Platycodon, Tea Plant, and
Anthistiria arguens.

One of the objects sought in arranging flowers in a Tea Room is to arouse
the admiration of the guests by the quaintness and novelty as well as the unassuming
simplicity of the composition. For this reason curious and unusual vessels are often
resorted to.

FLOWERS FOR INCENSE MEETINGS.

Another polite pastime of the Japanese in former times was that of burning
different kinds of incense, and of distinguishing the scents produced ; a small room

108 ARRANGEMENT OF FLOWERS.

like the Tea Room being generally used on such occasions. The little bronze or
porcelain incense-burner became the principal art object of the chamber, and was
supported on a stand or low table, about one foot high, placed on the dais of the
recess. The height of this stand necessitated that the hanging picture should be
a broad low one, technically called a Cross-picture (Yoko-mono). The most simple
kind of floral decoration at these entertainments was that of a single flower and
leaf, or a small bunch of flowers, placed in a tiny vase below the stand or table
(see Fig. 17). Some theorists object to this arrangement because the incense-burner
above contains fire, and both wind and fire are injurious to flowers. If not used
in this manner, the flowers should be placed in a vase hooked to the pillar or wall
of the recess, or a suspended boat arrangement may be adopted. All scented flowers
of whatever kind are prohibited at incense-burning meetings. This rule excludes such
flowers as the Plum, Daphne, Chrysanthemum, and Aconitum fiscJicri.

In cases where a hanging incense-burner is suspended from the lintel of the
alcove, a standing arrangement of flowers may be placed below.

.

PLATE XXX.

JAPANESE INTERIOR WITH ARRANGEMENT OF WINTER FLOWERS.

* ^

PRACTICAL EXAMPLES.

HE following illustrations, from Plate XXXI to Plate XXXIII inclusive, are
w.J |& given to aid the designer by showing in juxtaposition, defective and corrected
£=^J arrangements of the same floral branches or leaves.

In Plate XXXI the Kerria japonica is represented at A, placed in a standing
vase, with its branches very much in the form assumed when first gathered. The
defects of this composition are, the stiffness of the central stem, the weak and open
appearance of the branches at the base, the redundancy and parallelism of some of
the smaller sprays, and the general fulness, irregularity, and formlessness of the
whole. Altered as in B, the central stem or Principal assumes a stronger curve, the
different branches are united at the base, the lines of the Secondary and Tertiary are
improved, and some of the smaller sprays removed, so that the whole becomes
disposed into five governing lines.

In Plate XXXII the Spiraa cantoniensis is shown at A, carelessly arranged in
a hooked bamboo vase, having a side mouth. Here the central line is too long for
a hanging arrangement, which requires the drooping branch or Streamer to be the
longest, and the branches are too numerous and straggling. Altered as at B, the
Principal is shortened, the Secondary, being in this case a Streamer, is bent down in
a wave-like curve, some of the excessive sprays are removed, and the whole resolves
itself into a three-lined arrangement.

In Plate XXXIII the Leaf-orchid is shown at A in a defective and almost
symmetrical arrangement. The principal faults of this composition, are the straightness
of the central leaf and the distribution of the fronts and backs of the leaves, as
shown by shading, which is monotonous and incorrect. Improved, as at B, the
stem of the central leaf is gracefully curved, showing its front surface with the edge

no ARRANGEMENT OE FLOWERS.

curled over, and the other leaves are united firmly at their base, arranged in steps,
and disposed so as to reveal front and back surfaces in a well balanced variety.
The whole assumes the character of a trilineal design.

The special rules and traditions which govern the arrangement of particular
flowers will now be explained, practical examples being shown, so far as the scope
of this work permits, in accompanying illustrations.

ARRANGEMENT OF PLUM BRANCHES.

The Plum blossom being the earliest flower of the year, is held in high
esteem for floral arrangements. The hardiness of the Plum tree, the duration of
its blossom, its sweet perfume, as well as the austere type of its beauty, all help to
make it even a greater favourite for flower compositions than its more showy rival
the Cherry tree. There exist in Japan many varieties of this blossom, red, white,
single, and double. Branches of red Plum blossoms should be arranged in a fuller
and gayer manner than those of white blossom, which should be displayed in a quiet
and open style. For Spring arrangements a fancy prevails of suggesting, by means
of a perch-like bend of a branch in the composition, the presence of the Nightingale,
which delights to make its home of song in the Plum trees. Heavy and antique
standing vases are the most suitable receptacles for this flower.

The rough and irregular character of the branches of this tree, renders
considerable trimming and bending necessary in order to arrange them into lineal
compositions, and this manipulation is assisted by softening refractory portions in hot
water. In Plate XXXIV is illustrated the process of composing a trilineal design
with small branches, each stem being shown both in its natural and its altered form,
side by side with the completed design.

But the favourite kind of Plum branch for chamber decoration is that of
the thick, rugged, moss-covered trunk, with young branches and shoots attached. The
fresh shoots, which grow vertically in parallel clusters, are specially admired in combi-
nation with the rugged trunk, and are introduced under a special name (Zuicaye)
in an appropriate place in compositions. Arrangements of this kind vary according
to the class of room in which they are used. For important chambers a composition
leaning to the right is adopted, and for secondary rooms one leaning to the left.

<

^

pq

VV

t

1 >RA C TIC A L E XA Ml 'L E S. in

Such designs are said to have respectively South and North character. For arrange-
ments of Right or South character, full and half-open hlossoms predominate, huds
being employed sparingly in the Tertiary branch only; whilst for those of Left or
North character no full blossoms are used, but only buds and half-open flowers, a
more quiet and bare character being given to the whole composition. The shoots
are, in both designs, sparingly introduced, springing from the main trunk in three
parallel lines, and in a position between the Secondary and Tertiary. In this particular,
the Plum tree forms a privileged exception to the general rule which prohibits
Parallelism in the disposition of stems or branches.

A curious arrangement of Plum branches in a large shallow basin filled
with water, illustrated in Plate XXXVa, requires special notice. As a general rule
these broad water-basins are employed only during Summer, and for the display of
trees or plants which grow near or in water. In the present case, the composition
consists of an irregularly bent cutting of a Plum tree disposed in an oblong shallow
vessel, in the leaning style, with the principal branch diving through the water and
re-appearing beyond. The explanation of this fanciful arrangement is that it was
originally in imitation of the famous Recumbent-Dragon-Plum-Tree at Kameido,
remarkable for its crawling trunk which ploughed the ground in several places
before re-appearing blossom-clad beyond. In the artificial composition it is considered
important that the extremity issuing from the water should rise firmly, to suggest
springing from the earth, and should, in fact, be fixed as if it were a branch
separately held below, though sufficiently conveying the idea of continuity of line with
the original branch. Some Schools otherwise explain the origin of this style of
design. By them it is called the Plum of the Mountain Stream, or the Water-diving
Plum, and its introduction as a floral design is attributed to the aesthete Soho, who,
during a hunting expedition, observed a crooked old Plum tree diving in this manner
in a mountain stream, and adopted the idea for application in the flower art which
he practised. A tree of this kind measuring over a hundred feet from its root to the
extremity of its branches is said to have existed near Kioto. In the above arrange-
ments, sand and gravel are mostly used for fastening the Plum branch in position,
but sometimes the Horsc's-bit fastener is employed ; in which case, for reasons already
stated, the composition must not be placed on the dais of a chamber of importance.
In one of the illustrations of chamber interiors (Plate XXVII) is shown a composition
with Plum branches in a broad shallow vessel as above described. The clothing
of the seated figures and the snowy landscape indicate the early Japanese Spring, —
the season of the Plum blossom.

II2 ARRANGEMENT OF FLOWERS.

The Plum is used in combination with land and water plants such as the
Spring Chrysanthemum and Narcissus (see Plate XXXVI a). An elaborate composition
in a high bamboo vase with five mouths is sometimes seen, having a branch of white
Plum in the top, a Willow branch below, then a Narcissus, after which a Camellia,
and lowest of all a Pine branch. In Plate XXXVb may be seen a branch of Plum
blossoms arranged in a hanging basket, in combination with the plant Adonis amurensis.

ARRANGEMENTS OF PINE BRANCHES.

The Pine is the most important of all flowerless trees in Japan. The
hardiest and noblest of evergreens, and a constant feature of the landscape, — whether
it be mountain or coast scenery, — bent and twisted by the wind into shapes so quaint
and contorted that faithful imitations in miniature may well be mistaken for grotesque
caricatures, this venerable tree forms a favourite subject for poets and artists, and
finds an important place in floral compositions on all congratulatory occasions.
Combined with the plum and bamboo, and associated with the crane and tortoise,
it is used in decoration to express the sentiment of happy old age.

The principal kinds of Pine are the Finns thunbergii, known by the Japanese
as the black or male Pine (Kuro-matsu and O-matsu), the Pinus dcnsiflora, called the
red or female Pine (Aka-matsu and Me-matsu), and the Pinus parvifiora (Goyo-no-
matsu). The Finns parvifiora, on account of the straightness and delicacy of its
leaves is often arranged in a simple vertical style, using thin sprays, but for composi-
tions with other species of this tree, thick gnarled branches are preferred, and a bold
rugged character given to the design. The Pine is used mostly for arrangements
in standing vessels for which it is said to be specially suited, but hanging composi-
tions are occasionally employed. A favourite treatment is that of a broad stump
cut off horizontally, with a thick twisted branch springing from its base. At all times
the Pine branch is used as much as possible in its natural state, being trimmed until
its arched masses of foliage assume a balance suggestive of the three radical divisions
employed in flower compositions, and the building together of separate branches,
common with other trees, is comparatively little-Tesorted to. An example illustrating
the Pine foliage disposed in cloud-shaped masses may be seen in Fig. 3, page 55.

The occasions for which the use of the Pine is specially appropriate are at
the New Year, at weddings, at old-age celebrations, and sometimes, though rarely,

PRACTICAL EXAMPLES. 113

at farewell gatherings. At wedding feasts a double arrangement in a pair of similar
standing-vases is employed. For this purpose a branch of the male Pine is placed
in one vessel, and a branch of the female Pine in the other. The general form of
each design should be similar, but the branch of the female Pine which faces the
opposite vase should stretch a little beneath the corresponding branch of the male
Pine. These together are called the Destiny -Uniting branches, and the complete design
typifies eternal 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 are hung
from the branches, in conventional imitation of the parasitic grasses which attach
themselves to this tree ; and in disposing such threads, their balance into groups
of three, five, or seven irregular lengths is carefully attended to.

The white Chrysanthemum is sometimes used in combination with the Pine,
a custom introduced by the philosopher Rikiu in allusion to a favourite verse of
poetry comparing the white flowers of the wild Chrysanthemum when seen beneath the
Pine branches to the moon between black clouds, — the foliated leaf-masses of the
Japanese Pine tree, piled one above the other, being not unlike in shape to rolling
masses of dark clouds. This is one of the many examples in which the sentiment
of landscape is introduced into flower designs. Another example is that of what
is called the Mountain-vallcy-and-stream composition, suited to a vase of three openings.
In the upper mouth is placed a Pine branch, to suggest a mountain summit ;
a land plant is placed in the centre, to suggest the plain or valley ; and in the
lowest mouth is arranged a water plant, to convey the idea of a stream or river.
High bamboo vases are employed for such arrangements. Somewhat similar to the
last named composition, is a design in a vase of two mouths with Pine branches
in each, the top branch being kept small in order to suggest a distant tree on
the hill-top, and the lower branch full and elaborate to represent a tree in the
foreground.

The use of the Pine at moon-viewing gatherings has been alluded to in an
earlier part of this work. Its employment in a single arrangement at farewell-
gatherings was invented by Rikiu, being suggested to him by a verse of poetry in
which the Japanese name for Pine (Matsu) conveys a double meaning, the same
word also implying waiting for a lover's return. Many of the traditions of the
Flower Art are based upon such poetical allusions.

ii4 ARRANGEMENT OF FLOWERS.

Examples, though rare, may he seen of the Pine arranged in a water-basin
in combination with a water-plant, such as the Iris or Narcissus. One form of
fancy arrangement called the Fuji-pine after the famous volcanic mountain Fuji-san,
remains to be mentioned. In such a composition a bent branch is selected to
resemble the outline of mount Fuji, and is combined with the other branches and
foliage in such a manner as to give the profile of the bare conical peak and suggest
the wooded country at its base.

ARRANGEMENT OF BAMBOOS.

In the Flower Art, the Bamboo is, strictly speaking, regarded neither as a
tree nor a plant, but it may occupy the position of either. It should never be
placed in a vessel made of bamboo. In combination with other trees or plants
thin branches or sprays of Bamboo are often employed, but for simple compo-
sitions a portion of the round stem or tube is selected, with a few leaf-clad twigs
attached. The top of such tubes are cut off either in a splayed or horizontal
manner according to the occasion. If used at wedding feasts, the cutting must be
hidden by leaves, as the sight of it is considered to be unlucky and suggestive of
severed friendship. These cylinders of green bamboo require very special and careful
treatment, in order to preserve their verdure and vitality for any length of time.
They must be cut in the cool of the morning or evening. In the early months
of Summer, when the leaves are young, the stem is very succulent, and no special
treatment is required, but to preserve the freshness at other seasons, small holes
are drilled between the knots of the tube, into which water is blown with the
mouth. Sometimes sake, the rice-wine of the country, is added to the water as a
stimulant.

Mostly three, but sometimes five twigs of leaves are left on these cylindrical
stems, arranged irregularly. The leaves of such branches are in their natural state
crowded and confused, and they require thinning out, the withered ones being re-
moved, and the remainder disposed in double or triple groups. Three different
combinations of leaves are approved, that of the Fish-tail, in which two of the
lancet-shaped leaves spread out like the tail of a common fish ; that of the Gold-
fish-tail in which a central leaf is added, giving the group the resemblance to the
triple-finned tail of a gold fish ; and that called the Flying-goose shape, consisting of
three sloping leaves, suggestive of the form of a wild goose in flight.

fc

(

<

«

(T

=\

^

\,

rr

JJ

~n\

3^^^=;
^^•&

{

c

Cc

m

^

^

I

<p

rr

k

v

PRACTICAL EXAMPLES. 115

On some occasions, two tubes of green bamboo, one shorter than the
other, are combined, called respectively the male and female. The top of the
female 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 and two leaf-clad
twigs which take the place of Principal 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 a Bamboo sprout (Take-no-ko) if in
season, may be added as an auxiliary, and it should be fixed about two inches
distant from the main stems, generally in a slanting position and against an orna-
mental stone.

Numerous vases made of bamboo cylinders have been described in an earlier
part of this work. Similar vessels are often made of green bamboo, the leaves
being left on, and forming part of the floral composition arranged in such vases.
The same care is required to keep such receptacles fresh and green as is applied
to ordinary bamboo tubes, and while the upper and lower portions are cut out
to form mouths for the purpose of receiving other plants, the intermediate space
between two knots is bored and sprinkled internally with water and sake. In Plate
XXXVIII at a may be seen an arrangement of Bamboo in a sand-basin together with
the Nuphar japonicum, and at b a design with thin stems of bamboo alone.

COMBINATION OF PINE, BAMBOO, AND PLUM.

Separate notice is given to the combined arrangement of Pine, Bamboo,
and Plum branches, on account of the importance attached to such triple compo-
sitions in the Art under consideration. This combination, called by the Japanese
Sho-chiku-bai, is used at important celebrations in token of congratulation and well-
wishing. It is specially employed at the New Year, and, if the Plum blossom
be in season, at wedding feasts. Sometimes the composition is in a single vessel,
and sometimes in three. If all three be placed in one vase, the Pine takes
the position of the Principal, the Bamboo of the Secondary, and the Plum of the
Tertiary; and if arranged separately, the Pine occupies the central position, the
Bamboo is placed on the left, and the Plum on the right. The Plum branch
should have its base tied with a coloured silken cord, when used at weddings.
A bamboo vase is not considered suitable for such triple arrangements, but a
vessel of green bamboo may be employed with the Pine and Plum only, thus

n6 ARRANGEMENT OE FLOWERS.

including the vase itself in the combination. An illustration of this is shown in
Plate XXXIXa, and another example of the Sho-chiku-bai may be seen in the same
plate at b.

ARRANGEMENT OF WILLOW BRANCHES.

The Willow is employed for floral designs on important occasions from the
fifteenth day of the eighth month to the first day of the third month. Owing
to the facility with which its branches can be bent, it is considered the easiest of
all tires to arrange after the Japanese manner, and generally forms the subject of
first lessons in the Art. Among the many varieties of the Willow found in Japan,
those most used for floral compositions are the Salix purpurea, or ordinary river-side
Willow and the Salix babylonica, or Weeping Willow. When branches of the Weeping
Willow are employed, care must be taken to avoid an arrangement in which lines
droop on both sides of the same composition, such designs being only permitted
at the celebration of death anniversaries. It is a common practice to tie the
long trailing stems of the Willow into a loose loop or ring of about four inches
in diameter, generally three stems being so united, and the extremities hanging
down at different lengths. The originator of the Enshiu School is said to have
invented this style of composition, as he found it otherwise difficult when arranging
Willow branches in standing vessels, to prevent the long shoots from trailing on the
floor. Another version attributes the practice of looping the Willow to an old
Chinese custom prevailing at farewell meetings, on which occasions it signified tying-
up until the return of the departing guest. Hence it is said to be a style of arrange-
ment specially suited for farewell gatherings.

The custom became afterwards applied even to hanging compositions, which
are generally preferred for this tree, the idea being that, because the Willow tree
grows near water, its branches should hang over laterally as if drooping over a
stream. Even in chambers of handsome dimensions, for which standing flower ar-
rangements are mostly selected, the Willow is frequently placed in a vase hooked to
the recess-pillar, or in boat-shaped vessels suspended from the cross-beams. A design
of a Willow branch in combination with a bunch of Narcissus placed in a hooked
basket may be seen in one of the text illustrations Fig. 8.

The Camellia is the favourite flower for connecting with the Willow, a

pq

'y^^^

< s

> 3

z -

pa

s x
o :-

-;

99

*v

*

PQ

♦

f

n

3 ^

x

♦

PR A CTICA L EX A MI'LES.

117

combination at variance with the general rule that two trees ought not to be employed
together in double compositions. At the season when the buds of the Willow present
a reddish appearance the white Camellia is chosen, but when these buds assume a
greyish white colour the red Camellia is considered more suitable. In Plate XLIb
is shown an arrangement of Willow and Camellia in a suspended bronze vessel
of crescent shape, and in Plate XL are illustrated two compositions, one consisting
of the Willow combined with the Camellia sasanqua, and another of the Willow and
Narcissus. If both are arranged in a two-staged bamboo vase, the Willow should
be above, and the Camellia below. The Narcissus and Winter Chrysanthemum are
also occasionally used in combination with the Willow.

Three fancy styles of composition are recognized
for the branches of this tree, namely, the Willow in fair
weather, the Willow in wind, and the Willow in snow.
For the fair-weather style the Spring Willow is used,
and the branches are spread as if just kept apart by
the breeze ; when the Willow in wind is expressed, the
branches are given a curved sweep, as if blown back by
a strong wind (see Fig. 22) ; and when the Willow in
snow is suggested, the stems are made to hang straight
and heavily as if weighted with snow.

ARRANGEMENT OF WISTARIA FLOWERS.

The Wistaria, as the first flower of Summer and the most important of
blossoming creepers, holds high rank, though its colour renders it unsuitable for
certain occasions, — purple being associated with mourning. The species with white
blossom is seldom used in floral designs. From its nature this plant is specially
adapted to suspended arrangements, though it is also used in standing vessels ; in
the latter case some sort of frame is generally necessary for its support. The
blossom-clusters are preferred before they are in full bloom, consisting of a majority
of buds and half-open flowers, with only three or four fully open.

Tubs and sand basins, such as water plants are placed in, are the only
kinds of standing vessels used for the Wistaria, which grows in parks and gardens
on trellises overhanging a lake or stream. The idea of such water-scenery is

u8

ARRANGEMENT OF FLOWERS.

conveyed by means of these broad flat vessels, and stones are often introduced to
add to the impression of landscape in miniature.

An arrangement with ornamental stones is shown in the accompanying

woodcut (Fig. 23). Such stones are generally three in number, with three distinct

characters distinguished by the names Heaven, Earth, and Mankind. The principal

stone is high and pointed, like a mountain in shape; the third stone is flat and

horizontal in character; and the

second stone is of intermediary

form. Other stones of secondary

importance are often added, but

not so as to detract from the three

essential ones, and the complete

number should always be an odd

one. The stem of the Wistaria

should spring from behind the

principal stone. Water plants like

the Iris and Nuphar japonicum,

and land plants such as the

Calendula officinalis, Bijin-so, and
Aspidistra lurida, are sometimes
combined with the Wistaria in
shallow vessels. If land plants
are introduced, no stones should
be employed, these being only
resorted to when water scenery
is expressed.

Fio. 23.

A composition with Wistaria, Irises, and Nuphar japonicum would be arranged
as follows:— The Wistaria should be placed to the left of the vessel at the side of
a high stone— as if it were on the slope of a hill with its branches stretching over
and its flowers reflected in an adjoining lake or stream. It should have five,
seven, or nine clusters of blossoms. Then, at a distance of about six inches,
a group of the leaves of the Nuphar japonicum is placed; and four and a half
inches from this plant are arranged the Irises in a simple composition of three
or five leaves, one of them curling over and dipping into the water. The re-
maining stones should then be distributed in different parts of the vessel, but so as

i 1 •■

?

■VIA

""•.'.'. t-'-:''. :'"■ '"" .^''".. ■/ "/' ' '"'"■'■ ^;>'

^^riWtWMrttciri

=*i

).

PRACTICAL EXAMPLES. 119

not to interfere with the water plants, which must he placed in the free water-
space.

The nature of the Wistaria-creeper prevents its stems being arranged in
distinct lines in accordance with the general methods of floral design, but the rules
for Principal, Secondary and Tertiary are applied to the grouping of its blossom-clusters.
In hanging arrangements the Streamer assumes great importance.

Examples of suspended compositions may be seen in Plate XLIIa, where the
flower is placed in a bronze boat-shape vessel, and in Fig. 14, page 76, where it is
arranged in an inverted bell twining round a branch of Pine.

ARRANGEMENT OF IRISES.

Several kinds of Irises are employed for floral arrangements, the most
important being two varieties of Iris laevigata (Kakitsubata and Hanashobu), the
Iris sibirica (Ayame), the Iris tcctorum (Ippatsu), and the Iris japonica (Shaga).
Of these, the Iris lecvigata Eiscli. var. Kccmpfcri, which the Japanese call Kaki-
tsubata, is the favourite. This plant, though belonging particularly to the early
Summer, lasts through several seasons, displaying a special character of growth
at these different periods. In Spring, the leaves are stiff and straight, and the
flower stems are short ; in Summer, the leaves are more full and spreading and
there is much spirit in the flowers ; and in Autumn the flower stems are long
and the leaves bent and curled. These peculiar characteristics of the plant at
different seasons must be shown in the floral arrangements. The leaves of the
Iris, like those of other water plants, are considered the most important part
of the composition, and they must be well selected, all withered ones being
discarded. They are plucked in their sheaths, separated, and then artificially
connected into groups of two or three, being attached with saliva. These sets
of leaves are used to form the different lines of the design, names being given to
each according to its position and function in the composition. The main leaves
form the Principal, Secondary, and Tertiary lines of the arrangement, to these
being added two or three flowers and other auxiliary leaves. Plates XLIII and
XLIV demonstrate the methods of taking to pieces the clumps of leaves, re-arranging
them, and combining them, with the addition of flowers and buds, to form a simple
composition.

120

ARRANGEMENT 0E FLOWERS.

The usual numerical proportions between leaves and flowers in an arrangement
of Irises, 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,
the following is the method of arranging. First, three leaves are placed in the position
of the Secondary line. These three leaves are joined together with the two outer
ones long, and the central one short, as if just sprouting out from between the
other two. Above this group of leaves a full-blown flower is placed, with one long
leaf added, which occupies the position of the Principal. This is often called the
Cap-leaf, as it crowns the whole. Behind it a smaller leaf is added as an auxiliary,
and at the side of this a flower bud is introduced. Next a small leaf is placed
in the position of the Tertiary, technically called the Water-dipping-leaf, because its
tip curls over to the water of the vase ; and combined with this is added another
small leaf called the D :w -supporting-leaf , because its blade should be slightly concave
above with an upward tendency.

In making a composition of eleven leaves and five flowers, three leaves are put
in for the Secondary as before, and a flower is added. Behind this, and rather higher
up, the Cap-leaf is placed, and with it is arranged the highest flower as Principal with
two other auxiliary leaves. Then another flower is added between the Principal and
Secondary blossom with an additional leaf below it ; and on the opposite side of the
composition, a little lower than the flower of the Secondary, is placed another flower
with two leaves adjoining. Still below this is added a bud, for the Tertiary, combined
with two leaves, — -the Water-dipping-leaf and the Dew-supporting-leaf. Of the flowers
mentioned, two should be in full bloom, two partly open, and one in bud.

Reference has been made to flower arrangements in broad flat vessels in
which trees or plants are disposed side by side in divided clumps. The distance
between such clumps in the case of tree arrangements, is called the Valley-space,
but in that of water plants it is called the Eish-traveUing-distance, because a lake
or stream containing such plants is suggested, and the space left is just sufficient
for the passage of large fish. Such interval should measure about one tenth of the
height of the largest group of plants.

In a divided arrangement of Irises in two clumps, one should be large and

rr

^

J

%

PRACTICAL EXAMPLES. 121

high, in the Vertical-triangle style (see Fig. I, page 47), and the other small and
leaning, in the Horizontal-triangle style (Fig. 2, page 48). The main group, placed
to the right side of the basin, may have seven large leaves, a flower, and a bud ;
and the other group, six small curled leaves, and one bud.

The Japanese floral artist delights to suggest in his compositions some noted
natural landscape. The most famous spot in Japan for displays of the Iris, is
Yatsuhashi in the province of Mikawa, where there is a river with eight tributary
streams crossed by as many bridges. An artificial flower arrangement is sometimes
made in suggestion of this natural view, by using a very large shallow basin in
which are placed white pebbles to represent the river and its eight branches, divided
by black stones, filled in for the land.

The Irises are then arranged amongst the black stones, in divided groups.
Each group is composed separately with a different quantity of leaves and a pro-
portionate number of buds and flowers. Some bunches are disposed verticallv,
others in a more leaning style, and numerous pairs of young leaves are arranged
between, to connect the whole. This arrangement is one example of a kind of
flower composition almost resembling miniature gardening. The plants are held in
their position by the sand and pebbles, and no other visible fasteners should be
employed.

The Iris sibirica is arranged in a somewhat different manner, the flowers
being placed higher than the leaves, whereas, with the Iris laevigata, the blades rise
above the blossoms. Another peculiarity is that the leaves are arranged in regular
gradations and not in indented triplets.

The Iris may be seen in Plate XLV. at a, arranged in a large basket
together with a branch of Fir, and at b it is illustrated as an independent compo-
sition in a small bamboo vase. One of the subjects in Plate XXVa. is that of
Flags placed in a Well-frame vessel and held by a metal Crab-fastener. In Plate
XLVI. a large design of Irises is illustrated, forming one side of a paired floral
arrangement, the Aster tataricus being placed in another vase opposite to it. The
Iris is often arranged with other water-plants, such as the Nitphar japonicum and
RJiodca japonica, in a broad vessel. It is also to be seen combined with trees, such
as the Wistaria, Maple, and Nandina domestica.

122 ARRANGEMENT OF FLOWERS.

ARRANGEMENT OF PEONIES.

Two distinct varieties of this plant are employed for floral designs, namely,
the Posonia moutan and the Pceonia albiflora. The former produces blossoms of
immense size and is generally arranged in wide-mouthed bronze vases or antique
flower-baskets, no other flowers being permitted in conjunction. The Pceonia albiflora
— a smaller species which goes by the name of Shaku-yaku, — ma)' be used in combi-
nation with branches of flowering tires, but should not be joined with other plants.
The Pceonia moutan, or large Peony, is one of the three flowers to which are attributed
royal rank, the other two being the Cherry and the Lotus. It must therefore be used
alone and placed in the position of honour in a chamber, — that is, on the dais of
the principal recess. It should never be arranged on a shelf or in any secondary
place, and all other flowers must be excluded from the room which it is used to
decorate. This rule is professedly followed out of respect for the Peony as queen of
all flowering plants, but its luxurious character really renders such practice consistent
with purely artistic considerations, the addition of other material being calculated to
produce a surfeit of richness and elaboration. The employment of the Cherry blossom
is also subjected to the same restrictions.

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. As the blossoms are massive and heavy in
character they should be sparingly introduced between the leaves, rarely more than
one full-blown blossom being used ; the remainder consists of buds and partially
opened flowers. For the ordinary composition in three lines, five or seven blossoms
may be employed, one for the Principal, one for the Secondary, one for the Tertiary,
and the remainder distributed in intermediary positions. The leaves are carefully
disposed so as to give support to the flowers, and in some cases are made to cross
in front of them. The leaves surrounding the Secondary blossom should be large
and closely grouped. They are technically called the Lion-hiding leaves, because the
presence of the Lion, — which is associated with Peonies in decorative art motives, —
is supposed to be suggested behind the thick foliage. A flower bud should be used
for the Tertiary, with the addition of strong young leaves.

The Pceonia albiflora, or small species of Peony, is not held in so much
honour as the larger kind, and is often combined with other plants. In the case of
this plant, half opened blossoms are preferred for the Principal, full blossoms for the

c

fr

"\

PRACTICAL EXAMPLES. 123

Secondary, and buds for the Tertiary. The Peony is sometimes arranged in wide
basins divided into separate groups.

Illustrations of this flower arranged in different kinds of vases may be seen
in Plate XLVII. at a and at B.

ARRANGEMENT OE LOTUS FLOWERS.

As has been stated in an early part of this work, the Lotus plant is
associated with the spirits of the dead, and is therefore considered out of place as
a decoration at festive gatherings. It, however, holds high rank in the Floral Art,
being regarded as the king of Indian flowers. When employed on the dais it must
be given precedence of all other flowers, and it would be considered a gross violation
of taste to combine with it the Peony, which is the royal flower of China. In the
case of the Lotus plant, the leaves play the most important part in the composition,
this being a rule which applies to nearly all water-plants. The Lotus leaves should
be selected to express the idea of the three Buddhist divisions of time — Present,
Past, and Future. Past time is represented by a partly decayed or worm-eaten leaf;
Present time, by a handsome open leaf,— often called the Mirror-leaf, on account of
its resemblance in shape to that of a Japanese mirror; and Future time, by a curled
leaf, not fully open.

This plant should be arranged in a wide-mouthed vase, Sand-basin, or Tub,
in which vessels it is often united with other water-plants. As an example of such
compound arrangements may be described a combination with the Iris, Nuphar japoni-
cum (Kohone), Alisma plantago (Omodaka), and Rush, with the addition of ornamental
stones, so as to form a sort of miniature lake scene. A general rule applying to
floral designs in broad basins, is that tall plants suggest shallow water, whilst those
short in growth suggest deep water; and as the Lotus flourishes in comparatively deep
water, the stems of its leaves, in a compound design, are kept short. The idea of
Principal, Secondary, and Tertiary is followed in the disposition and character of the
leaves ; for the Principal, a large round leaf being employed, for the Secondary, a
smaller leaf, and for the Tertiary, a young and curled leaf. An open blossom is
introduced between the Principal and the Secondary, and a flower bud, kept low in
position, is placed between the Principal and the Tertiary. The Irises are next
arranged at a distance of about two and a half inches from the Lotuses, an open

124

ARRANGEMENT OE FLOWERS.

flower being used for the Principal, a half open flower with three leaves for the
Secondary, and below, in the place of the Tertiary, two or three more small leaves.
The Nuphar japonicum is next placed in position, its Principal consisting of a large
oval leaf of interesting shape, and below it a half open flower occupying the place
of the Secondary, whilst for the Tertiary, a young and only partly opened leaf is
used. The Rushes are then arranged in five or seven bunches, and the Alisina
plantago is afterwards introduced, separated from the Rushes by a short space, with
two leaves having a bunch of flowers between them, the composition being similar
in style to that of the Nuphar japonicum, but bent in an opposite direction. Of

the five plants in this combination the Lotuses and Rushes
are disposed in the \'crtical-triangle style and the others
in the Horizontal-triangle style. After they are all arranged
in position, the stones are added to connect the whole
group together.

ARRANGEMENT OF CHRYSANTHEMUMS.

Floral compositions with Chrysanthemums are con-
sidered very difficult to arrange skilfully. Of this flower
there are many kinds, some of large and some of small
blossom, the latter presenting least difficulty in treatment.
There are varieties peculiar both to Summer and Autumn,
and also a later species exists called the Winter Chrysan-
themum. Characteristics of growth at the different seasons
are faithfully imitated in floral compositions. In Fig. 24, are
shown three separate sprays of the small Summer Chrysan-
themum, and the same combined to make a floral design.
It will be observed that the lines of this composition are
strong and vigorous, corresponding with the character of
Summer growth. In contrast to this, Fig. 25, on page 125, shows
an arrangement of Autumn Chrysanthemums, which is altogether
more' mature in style, in accordance with the character of Autumn
vegetation.

This plant requires great care in order to preserve fresh-
Fig. 24. ness in the leaves. It should be cut after sunset, and the ends

PR ACTIO A L EX A MPLES*

I25

*&f-

aaS 8P

JRagBm

of the cuttings should be burnt to charcoal, and placed for a considerable time in

water before arranging, so as to prolong their vitality. The stems are brittle, and

need great skill in bending to the desired curves, very refractory portions being

softened by heat. The blossoms of the small

Chrysanthemum, as shown in Figs. 24 and 25, are

massed in groups, generally consisting of an uneven

number of flowers. But with the species of large

flower, the blossoms are isolated and of limited

number, each stem bearing one, two, or at most

three flowers. There are said to be seven faults

which must be guarded against in the disposition

of such large flowers. A blossom must not be

turned away so as to present its back in the

composition ; nor must it turn its full disc to view ;

flowers must not have stems of the same length

so as to be exactly in a line ; nor must three

be arranged in a triangular form ; the disposal

of blossoms in regular steps is objected to;

colour-sandwiching, — as previously described on

page 53, — is another fault to be guarded against;

a large open blossom should not be put at the

lower part of the composition; and flowers

should not be hidden by leaves.

In addition to the special form of ar-
rangement suggested by the peculiarities of growth
at different seasons, three general styles
of composition are recognized for floral
designs ; namely, the finished style, the
intermediary style, and the rough style.
These distinctions correspond with, and
are described by, the same native terms
as those applied to the square, and grass Fig. 25.

or running Chinese ideographs, and refer to different degrees of elaboration or
sketchiness. In Plate XXXVIa. are shown Chrysanthemums arranged in a rough style
in combination with other flowers. Plate LI. exhibits two compositions of Chrysan-
themums in a more finished style, one representing these plants disposed in five

126 ARRANGEMENT OF FLOWERS.

lines, with seventeen blossoms, in a fancy bronze vase, and the other showing a
triple design in a bamboo vase of three mouths, with fourteen blossoms in all.
A rough arrangement of these flowers in a special kind of basket is illustrated in
F'g- 7. Page 59-

ARRANGEMENT OF NUPHAR JAPONICUM.

The Nuphar japonicum, on account of its beautiful oval leaves, is a favourite
water-plant for floral designs. It is arranged in Sand-basins and Tubs, the Horse-
tub being by preference selected, and the Horses-bit, or some other fancy fastener
of metal employed. The largest leaves of this plant hang horizontally on their
stems, and are gracefully curled at their edges like those of the Lotus. The stems
are generally arranged as long as possible to convey the impression of a plant
which grows in shallow water. This rule becomes specially important when the
Nuphar is combined in a single vessel with other water-plants which flourish in less
shallow pools ; such deep-water plants being purposely kept as short as possible
and placed more centrally so as to suggest the idea of greater depth. Though the
flowers of this plant are small in comparison with the leaves, their position in a
design is much studied, and the leaves are arranged in reference to them. Seldom
more than two or three are introduced into a single composition, and these, consisting
of a bud and one or two half open blossoms, are grouped between the Principal
and Tertiary leaves.

For the Principal a large and slightly curled leaf is employed, placed higher
than the rest and extending to the left of the design ; for the Secondary a somewhat
smaller leaf leaning to the right ; for the Tertiary a small rolled leaf, — technically called
the Horn-leaf, — is added below the Principal, and below this is a young bent leaf called
the Watcr-touching-leaf, which should be only about an inch above the water surface.

The slender stems of this plant when arranged as above show a deficiency
in width, and it is usual in broad water-vessels to introduce a secondary clump at
the side, removed from the main composition by the space of a few inches. This
may consist of a single flower and one small leaf, kept very short as if just sprouting
from the water.

Double-well-buckels are often chosen for arrangements of the Nuphar japoni-

•

1'h'A CTICA L EX. \ MPLES.

127

cum. In Plate XLVIIIa. may be seen such a composition in the lower of a pair
of suspended Well-buckets, the Clematis being introduced into the upper one, in a
hanging style, with a long Streamer. Another illustration (Plate XLIXii.) shows the
same water-plant disposed with seven leaves and two flowers, and in Plate XXXVI I Ia.
it is combined in a large Sand-basin with a bigh group of bamboos.

ARRANGEMENT OE KERRIA JAPONICA.

This modest plant, with its long sprays of yellow blossoms, grows in abund-
ance near the banks of rivers, and is specially associated with the scenery of the
Tama-gawa, near Tokio. The accompanying illustration, Fig. 26, represents a compo-
sition made with the Kerria
in a broad Sand-basin, in-
tended to suggest such river-
scenery. The stems are held
by long cylinders of bamboo
basket-work made in imita-
tion of the jfa-kago, or mon-
ster baskets holding boulders
which are used to break
the current of rapid streams.
Stones are added to com-
plete the idea of the natural
view.

The Kerria japonica
is also frequently arranged
in suspended receptacles and
Boats, the stems having a Fig. 26.

leaning character given them with the object of preserving the notion of flowers
hanging over and reflected into a stream. The popular fancy that this plant bears
neither seed nor fruit, prohibits its employment at wedding ceremonies.

Plate XXXI. illustrates a defective and a corrected arrangement of the Kerria
in standing vases, and Plates XXV. and LII. show the same flower disposed in a
Horse-tub with the Horse's-bit used as a fastener.

i28 ARRANGEMENT OE FLOWERS.

ARRANGEMENT OF NARCISSUS FLOWERS.

The Narcissus takes an important place in floral arrangements during the
Winter and Spring months. Available at a time of year when other blossoming
plants are scarce, sweet in scent, and of golden colour, it is considerably prized by
the flower-artist. Varieties of red, white, blue, and double blossom are said to
exist, but with the exception of the white, which is sometimes used on ceremonial
occasions, these rare specimens are seldom seen in floral compositions. The blade-
shaped leaves of this plant receive chief attention ; they are removed from the sheath,
and are separately pressed and rubbed on a board to take out the excessive twist
which the heat of the sun gives them in their natural state, a single curl alone
being permissible for leaves employed in compositions. The younger leaves are
easily smoothed and straightened with the fingers, but the large ones are refractory
and require much labour and patience. Thus altered they are attached together in
pairs consisting of one long and one short leaf, with the longer blade in front, and
these pairs of leaves are employed for the different lines of the arrangement, with
the flowers placed between. Leaves which curl over are only admitted in hanging
compositions. The lengths of the flower stems are made to vary according to the
particular season, being shorter in Winter than in Spring arrangements. If the
blossoms droop they are carefully straightened and held upright by small wooden
spikes. A simple five-lined composition with Narcissus is shown in Plate LIIIb. a
double arrangement of Willow and Narcissus is illustrated in Plate XLa. and in
Plate XXXVIa. may be seen a triple composition in a high bamboo vase in which
the Narcissus occupies the central position, with Plum branches above and Chrysan-
themums below.

ARRANGEMENT OF CHERRY BLOSSOMS.

The Cherry blossom, being regarded as the king of indigenous flowers, has
precedence of all others for floral arrangements. It is considered preferable to use
branches of Cherry blossom alone, and they are but rarely combined with other
flowers. Sometimes, however, combinations with Pine branches, with Rape blossoms
(Brassica chincnsis), and with Irises are to be seen, though they are hardly considered
de rigueitr.

It is said that, in making arrangements with Cherry blossoms, the scissors

<#■

<•

PRACTICAL EXAMPLES. 129

must not be used. Though this rule is not strictly followed, the branches should
be trimmed and bent as little as possible, and the composition partake more of
a natural than an artificial character. In accordance with the distaste for over-
exuberance in floral designs, the Cherry of small and single blossom is selected in
preference to the richer specimens of double blossom.

A composition made with this flower should have a somewhat sparse ar-
rangement of buds for the central line, half-open blossoms at the sides, and a
few in full bloom below. Several fallen petals should be placed in the water
of the vase, and any blossoms which have dropped may be left remaining on
the flower stand. From the above rules it will be observed that the prevailing
idea is to represent the Cherry-tree as nearly as possible in its natural state.
The scenery of picturesque spots famous for the wild Cherry-tree, supplies the
motive of certain compositions. In Fig. 11, page 67, is shown a simple bunch
of blossoms arranged in a small flower-basket placed on a miniature raft, in-
tended to suggest the flower-laden boats which float down the rivers at Yoshino
and Arashiyama during the Cherry season. In Plate XLV. at b, is illustrated a
composition made with sprays of the weeping Cherry placed in a hooking flower-
basket.

ARRANGEMENT OF PEACH BLOSSOMS.

The Peach blossom can hardly be said to receive attention in Japan in
proportion to its great beauty and richness. The Peach trees in flower form
an attractive feature of the Spring landscape, but their gathered branches, though
often employed in floral designs, are somewhat too exuberant for the taste of
the flower artist. The Peach is used chiefly in flower compositions during the
Girls' Festival of the third month. The cuttings are then considerably thinned
out, most of the full-blown flowers being removed, and only a small number
of half-open blossoms and buds left distributed in masses amongst the foliage.
The double blossom flower is never employed, as it is said to have poisonous
properties.

In Plate LIV. at a, is shown an arrangement of Peach blossoms in a standing
flower-basket, together with the Rosa indica, and in the same illustration at b, the
Peach is arranged alone in a hooking basket.

i3o ARRANGEMENT OF FLOWERS.

ARRANGEMENT OF CAMELLIAS. •

The red and white Camellia, both single and double, are much used for
Sprino- arrangements, though generally in combination with other trees or flowers.
Their employment in conjunction with the Willow has been mentioned in discussing
Willow compositions on page 116. There is a prejudice agairft the Camellia on
account of a peculiarity of its blossom, which does not fall to pieces petal by
petal like other flowers, but drops off bodily, suggestive, it is said, of a head
struck off with the sword. On the other hand, it is held in considerable estima-
tion as an indigenous tree which has been much used for various purposes from
ancient times. It is also highly esteemed as an evergreen. In floral designs the
disposition of the glossy oval leaves receives greatest attention ; two leaves at
least must be appended to each bud or blossom introduced into the design.

Sometimes these two leaves point upwards, extending above the flowers ;
sometimes they are bent over more horizontally, so that the whole of the
blossom appears above them. The white Camellia, if in season, is much used
at Coming-of-age celebrations. The favourite kind of composition is one of five
blossoms and fifteen leaves, each flower or bud being surrounded by three curling
leaves.

Examples of designs in which the Camellia is introduced may be seen in
Plate XLIb. where it is combined with the Willow in a suspended bronze vase
of crescent shape ; in Plate XIVa. it is connected with the Peach and Narcissus.
In Plate XLb. a particular kind called the Camellia samnqna is shown, arranged with
the Willow. Bamboo vases are specially suited for Camellias, those of the Lion's-
mouth shape being selected by preference.

ARRANGEMENT OF CONVOLVULI.

The limp and delicate stems of creeping plants like the Convolvulus and
Morning Glory are difficult to arrange according to the lineal rules of the Flower
Art. Thin bamboo rods, withered stumps, or twigs are used as a basis in forming
a composition, and the design consists in a judicious balancing of leaves, flowers,
and buds, in which can be detected the radical elements of Principal, Secondary, and
Ter/iary. For the lower portion of an arrangement, flower buds are preferred to

*

PRACTICAL EXAMPLES.

131

open blossoms. Rikiu is said to have originated a composition consisting simply
of one flower and one leaf of the Convolvulus, which afterwards became a favourite
decoration for Tea-rooms. Upon being asked why he adopted so modest a design,
he replied that, as it was impossible to rival nature in her grouping, artificial arrange-
ments should be as unassuming as possible; even a single flower with one leaf bein^
sufficient, he maintained, to call for admiration. One is tempted to believe that the
difficulty of arranging such unstable plants according to the accepted standards of
lineal balance, may have had more to do with such a departure than the experienced
master was ready to admit. The founder of the Enshiu School invented a method
of employing the Convolvulus in a flower-basket, by winding the creeper round the
long oval handle of the receptacle. Such a composition is illustrated in Fig. 6,
page 58. A Convolvulus of three blossoms, placed in a standing vase on a high
table, is shown in Plate La.

ARRANGEMENT OF LESPEDEZA FLOWERS.

The Lespedeza is the principal of the Seven Plants of Autumn, and is
much used for floral designs at this season. On account of its numerous small
oval leaves and tiny flowers, a full and crowded arrangement of sprays is
generally resorted to. When placed in standing vases a trilineal composition is
followed, each line consisting of a group of four or five stems richly loaded with
leaves and blossoms. The lower or Tertiary line may be composed of a number
of short stems only sparsely supplied with leaves and flower buds, and curved in
such a manner as to suggest the profile of a wild boar's head. The wild boar
is supposed to sleep under the Lespedeza branches, and is associated in art with
this Autumn plant. There is an early specimen called the Summer Lespedeza,
and this should be arranged in a thinner and more open manner than the Autumn
plant, in order to preserve its special character of growth, which is less profuse
than that of the later season. In hooked or suspended receptacles, the Les-
pedeza is employed with a long Streamer, the other branches being kept short
and disposed in a simple and quiet manner. Such an arrangement, placed in a
crescent-shaped vase, is illustrated in Plate XLIIb. The Lespedeza is often arranged
in suspended bronze boats. It is also sometimes used with the Morning Glory,
the Eularia japonica, Valeriana villosa, Valeriana officinalis, Pueraria thunbergiana,
and the Carnation, making altogether the combination called the Seven Plants of
Autumn.

132 ARRANGEMENT OF FLOWERS.

ARRANGEMENT OF THE RHODE A JAPONICA.

This water-plant is valued for its beautiful large leaves, which are arranged
with the greatest care and precision, each important one receiving a special name
according to its position or function in the design, as follows : —

The Central-leaf, which occupies the place of the Principal or middle point of
the arrangement. The Spring-leaf, a young and curled leaf enveloping the central
stem. The Autumn-leaf, placed in the background of the design and having a faded or
withered tip. The Dew-supporting-leaf, employed in front of the Principal in Spring and
Summer arrangements, and having a curl upwards. The Dew-spilling-leaf, used behind
the Principal in Autumn and Winter designs, and having a curl downwards. The
Swallow' s-mouth-leaves consisting of two young leaves lapped together so as to present
a double tip, and placed between the larger leaves of the composition. The Frost-
protecting-leaf, which bends over some distance above the berries of the Rhodea, as if
to shelter them from snow or frost. The Wind-protectiug-leaf, which also curves over
the berries, somewhat lower in position, as if to screen them from wind. The Berry-
protecting-leaves, being two or three leaves disposed below and around the berries and
from between which they appear to spring ; in some arrangements these consist of
withered leaves. It is considered imperative that, in floral designs made with this
plant, the leaves should exhibit a proper balance of front and back surfaces. The
colour and gloss, to which great attention is given, are much improved by sprinkling
the leaves with sake, and immersing their stems for several hours in the same liquid.

In disposing the leaves in a composition they are piled in a step-like manner
in pairs and threes. In this way, for a seven-leaved design, first a pair of leaves are
placed, then another pair, and lastly three together; the berries are always intro-
duced low down, screened and partly hidden by the foliage.

Arrangements of six different styles are recognized for the Rhodea japonica,
as follows : — -

The Rainy-season-arrangement, suited for any period of the year, in which
style both the Dew-spilling and Dew-supporting leaves are employed. The Snow-time
arrangement in which the Frost-protecting and Berry-protecting leaves are introduced, all
withered leaves are discarded, and the berries are kept as low as possible in position.
The Spring-arrangemenf, suited only for the early months of the year, in which many

PRACTICAL EXAMPLES. 133

young leaves are used. The Summer-arrangement, distinguished hy the introduction
of a number of large leaves, with the addition of one withered leaf in front. The
Atttvmn-arrangement, in which several withered leaves are placed and no young leaves
allowed. The Winter- arrangement, consisting of a majority of withered leaves with
the addition of the Swalloiv's-moutlt-leaves.

ARRANGEMENT OF LEAF ORCHID.

The Chinese Orchid, called Baran, is one of the principal subjects for leaf
arrangement in Japanese floral design, and its treatment serves as a model for most
compositions with large-leaved plants. The flowers, being small and insignificant, are
often omitted, but, when employed, they are attached by means of thin spikes of
bamboo to raise them slightly in position. The Baran requires very careful treatment
in order to preserve its freshness. It must be cut in the early morning or after
sundown, and its leaves are then curled up, tied with string, and immersed in water
for some hours before use. In very hot weather it is customary to suspend the
cuttings for half a day in a deep well. To give a good colour and gloss to the
leaves, sake is forced up their stems before immersing in water.

This plant is generally arranged in a water-basin, sand-basin, tub, or other
wide-mouthed receptacle, with the addition of ornamental stones. In its natural state
the Leaf-orchid has always one long oval leaf growing centrally and higher than the
others, and in floral compositions this is used as the Principal, and is called the End-
leaf. The bottom leaf of a series is small, with its point arching over; it corresponds
to the Tertiary in floral arrangements, and is called the Finishing-leaf. Another special
leaf introduced into certain compositions is one curled up spirally, and called the
Spiders-leaf, being copied from leaves which are curled by the spinning of insects.
This form is artificially produced by heating. A ragged leaf called the Decayed-leaf,
made by tearing and scraping, is occasionally added. All the leaves of a compo-
sition including the above, are arranged in positions corresponding with the radical
lines of a floral design, each leaf counting separately in the combination. Thus, in
a three-leaved composition, the End-leaf will be used as Principal, the Finishing-
leaf, Decayed-leaf, or Spiders-leaf as Tertiary, and an intermediary leaf will occupy
the position of Secondary. In the same manner, for a larger composition of thirteen
leaves, the Finishing-leaf is placed as Principal at the top and centre of the design ;
to the right and below are arranged four leaves called respectively Secondary, Auxiliary

i34 ARRANGEMENT OF FLOWERS.

to Secondary, Support, and Auxiliary to Support; to the left are fixed four others,
described as the Tertiary, Support of Tertiary, Auxiliary of Tertiary, and a Decayed-leaf ;
and along the centre, round the stem of the Principal, are placed four more, named
in their order from above, Support of Principal, Side-piece, Trunk-piece, and Auxiliary
to Trunk-piece.

All the stems of such a composition are closely united in a single line at
the base for a distance of several inches above the surface of the water, and the
leaves in most cases overlap one another considerably, only a few of the most
important ones revealing as much as two thirds of their length. The distribution
and balance of leaf surfaces receive considerable attention, so much so, that each
leaf, in addition to its other names, is distinguished by the term Front-surface-leaf
or Back-surf ace-leaf. All leaves are curled or twisted in some way, to show a
portion of both sides, but rarely in equal degrees, so that a Front-surface-leaf would
reveal only a point or edge of its back surface. In Plate XLIXa. this balance of
surfaces is clearly indicated by shading. It is said that in a composition consisting
of five leaves, three, including the End-leaf and Finishing-leaf, should be Front-surface
leaves, but it appears that no strict rules are followed in this respect, a judicious
balance and pleasing variety being alone sought.

Plate XXXIII. is instructive as showing defective and corrected arrange-
ments of the Leaf-orchid side by side, in which not only the lines but the surfaces of
the leaves are altered. An elaborate design, with the same plant in a hexagonal
bronze vase, is illustrated in Plate XLIXa.

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 domestica, Forsythia suspeusa, and large Chrysanthemum, and with the
small Chrysanthemum and Papaver rhceas it holds the principal position.

ARRANGEMENT OF MAPLE BRANCHES.

The Maple, next to the Pine, is the most important flowerless tree used in
Japanese compositions. Of this tree, there are two kinds, — the Spring Maple, which
is red when the young leaves open, and the Autumn Maple, which is green in

PRACTICAL EXAMPLES. 135

Summer, and turns crimson later on in the year. Floral artists follow several fancy
styles of arrangement with Maple branches, which are as follows : —

The Sunrise-arrangement, in which the leaves of the Principal branch should
display their front surfaces. The Sunset-arrangement, in which the leaves of the
Principal branch should have their under-sides turned to the spectator. The Cloudy-
weather-style, in which the leaves should be curled and sprinkled with spray. The
idea of this style of composition is taken from the appearance of the wild Maples of
Ogura-yama, near Kioto, the leaves of which are often curled by frost. The Tsuten-
arrangement, in which green leaves are used in the upper, and red leaves in the lower
part of the composition. The name refers to a spot called Tsuten, famous for
its Maple trees, whose leaves redden from below. The Tatsuta-arrangement, so
called from a place of that name, where fine Maple trees line the banks of the
stream. In disposing the Principal mass in this composition several of the larger
leaves should be removed and placed floating in the water of the flower vase, to

A divided arrangement of Maple branches in a large bronze bowl is illus-
trated in Plate X. also a combination with Chrysanthemums is shown in Plate XIVa.
The Maple is often used in water-basins, and sometimes in combination with the
Iris or other water-plants.

MISCELLANEOUS.

The above description of special arrangements with certain flowers includes
those most often introduced into Japanese floral compositions. Nearly every tree
and plant, however, the blossoms or foliage of which possess any beauty or attraction,
may be seen occasionally introduced into designs, either singly or in combination.
The manner of treatment and combination is based upon the principles already
expounded as to characteristics of growth, locality, sex, and season, controlled in
many cases by traditional fancies.

The examples of compositions with Leaf-orchids, Rhodea japonica, Lotuses,
and Nnphar japoiiicuni may be taken as models for arranging most plants having
large oval leaves; the designs of Irises and Narcissus may be followed in employing
plants having long, blade-like leaves ; the arrangements of Clematis and Wistaria

136 ARRANGEMENT OF FLOWERS.

illustrate the manner of treating trees and plants of the creeper variety ; the compo-
sitions with Plum, Cherry, Peach, and Willow branches serve as examples for the
disposition of other straight-branched and blossom-clad trees; and the treatment of
Chrysanthemums and Peonies can be taken as a guide for arranging most plants
having large ponderous blossoms.

It only remains to allude to a few examples among the accompanying
illustrations which have received no special notice in other parts of the work.

Plate LIVa. shows an example of the Rosa indica (Choshun) arranged as
an auxiliary in combination with branches of Peach blossoms in a large flower
basket.

Plate XXXVIb. illustrates the Ilex sieboldi (Ume-modoki), in a triple arrange-
ment, placed in a high bamboo vase.

Plate XLIa. exhibits the Tecoma gvandiflora (Nozen-kazura) in a suspended
crescent-shaped vessel, balanced by a separate design of Calendula officinalis (Kinsen-
kwa), in a standing vessel.

Plate XXXVIIb. shows the Cabbage-plant (Ha-botan) arranged in a globular
standing vase.

Plate Lb. illustrates the Diantlius supevbus (Nadeshiko) placed in a bronze

Plate LIIa. represents the Fitnkia ovata (Giboshi), a large-leaved water-plant,
in an arrangement of seven leaves.

Other plants occur in plates which are intended mainly to illustrate different
receptacles for flowers. Among these may be mentioned : — the purple Magnolia,
arranged in a bamboo Roofed-boat, Plate XXII. the Patrinia scabiosafolia, in a wooden
tub, called the Long-boat, Plate XXII. and again in a hanging vessel on a Flower-
horse in Plate XXVI. the Vine, shown combined with small Chrysanthemums, in a
crescent-shaped vessel attached to a Flower-horse, in Plate XXVI. Ivy with Camellias,
in an inverted bronze umbrella, in Fig. 12, page 70; and the Aster tataricus paired
with an arrangement of Irises in Plate XLVI.

t

*

X

IvW (1/

SB

»\Jl

fV

^

pq

<

►J

V^

pq

s3 (r

i

^

ffl

^

J

N

«■*

pq

m

+

+

en

*
#

IS JFr I

#

pn»

'j<-

ffiij'rr

Ik

ft 0?

^ ^c =f is ik £

k m m n n w-

* i k b m m

5 & * n & *

no.

i if I f 1 w

I pg ui ^ i II

^ T A A IP

0 [I mr m ®t

m

"ST

A

?

,., M

±

v-

m

in i

nt»imfl

SI-

* » » » ft «

jjtfc tt it /£ ^S

IT A

*3$!$f

■

■ans

'*, ■

f k*>l

■

*V

?*'■*•■

xrk

/' j kW»4>?

3'wWi

*■•**&> *{$$?}&

T ' jfc

A**

H

-feV

IB

•v\i

7 •. *i ?■-

K