A Short History of Ikebana
by Marjorie Bromilow
Ikebana is the Japanese way of arranging flowers. It comes from two Japanese words -ike - a way and hana-flower.
One of the ancient arts of Japan, it is steeped in tradition. Ikebana has its origins in the Buddhist religion, so the principles of design attitudes of study reflect the strong disciplines and deep awareness of nature in its total concept, which is so much a part of the Buddhist faith. When Buddhism arose in India, the monks, with their desire to preserve and care for all living things, began picking up branches which had been broken off in storms and placing them in vases on the altar, on either side of the Buddha. These branches were right and left handed, to create balance; so these first steps paved the way for the principles of a-symmetrical balance, which is the basis of all Ikebana.
Buddhism spread to China; this simple form of flower arranging going with it. At that time it did not develop any further in China. In the sixth century Japan first opened its doors to the outside world. Envoys were sent to China to discover what they could of the culture of that country. One envoy brought back the principles the Buddhist faith. He was particularly interested in their use of flowers and branches on the altar in the temples.
On the death of the Prince Regent, his master, he became a hermit, praying for the soul of the Prince and devoting his life to the study of arranging flowers, according to their form and manner and place of growth. He formulated a strict set of rules of measurement and design and balance. He lived alone in a little hut by a lake in the palace grounds and became known as "Ikenobo''-the hermit who lives in the hut by the lake. The set of rules and ideas, which he formulated, gave rise to the Ikenobo school, the first school of Ikebana. It still exists today's the great classical school from which hundreds of other schools have developed. The place where the hut is believed to have been is now a shrine in the grounds of the lkenobo school in Kyoto. lt is a special place of pilgrimage.
For many years Ikebana remained solely with the priests in the temples and its history is recorded only in picture scrolls. There are records of simple arrangements called Tatibana and massive Rikka, which sought to express grand and majestic nature. They were very large to grace the luxury of the Bhuddist temples.
From the colourful Muromachi period lkebana became more popular and was encouraged by the great Shoguns or war-lords that became patrons of the arts, built majestic palaces and employed their own flower masters. Ikebana was taught to their Samurai warriors as a gentle balance to their fierce fighting; a way to express the yo-in or positive and negative balance of all things.
During this time a very simple form of lkebana, chabana was developed along with the Zen tea ceremony. This was often an arrangement of only one flower.
With the establishment of the Meiji government in the mid eighteen hundreds Ikebana became available to everyone and was taught in girls' schools. Previously Ikebana was only in the hands of men (and most of the flower schools still have headmasters). By now many schools were developing and a new form, Moribana, was introduced. ln this form flowers were arranged in a shallow container and were held in place with a kenzan or needle-point holder.
Sogetsu School
There are now three main schools – Ikenobo, Ohara and Sogetsu and hundreds of smaller ones. Sogetsu or “grass-moon” school is the largest. It is a modern and creative school and its followers are encouraged to be adventurous in their approach and choice of materials, after first studying the strong principles of design and developing a deep awareness of natural form.
Sogetsu School was founded in 1927 by Sofu Teshigahara, its first sensei, then a young man with new and progressive ideas. He had been studying Ikebana from the age of seven and had a strong grounding in classical Ikebana. Feeling restricted by the classical classical approach he broke away from tradition and founded his own school giving it the name Sogetsu, or the new crescent moon. This is the school most commonly studied in Australia. As well as being a great flower master Sofu became a world renowned Japanese sculptor and was recognized as a National Treasure of Japan.
Sofu’s approach was strongly sculptural and he introduced great depth and movement into his arrangements. His view was that he had liberated Ikebana from the Tokonama, the traditional place of honour for the placement of arrangements. The Tokonama was limited in space and ambiance. Sofu wished to confront nature, not to copy it and was aware of the need for very large arrangements in areas of unconfined space.
In his new school Sofu formulated two basic styles and eight variations. The styles and variations could be combined in endless ways; in styles as various as the nature which inspired them. With the whole of nature as inspiration the possibilities are endless, although the arranger is still working within the principles of the art. The arranger and the materials are constantly being extended and, as in any creative art, the learning process never ends.The earliest introduction of Ikebana to South Australia was a demonstration by Norman Sparnon at the invitation of the SA Floral Art Judges School. Interest was such that in 1963 there were sufficient people for Norman to commence teaching in SA. At that time it was necessary to apply to Norman to attend his classes. Norman would travel to SA every 4 months to teach over a period of 4 days. These lessons were studied from a primer by Sofu Teshigahara; the Basic Styles and Variations that we study today.
The South Australian Branch
by Betty Goodall
Prior to 1978 each Branch of the Sogetsu School in Australia was managed by Mr. Norman Sparnon OAM. After 1978 each was made autonomous.
By 1977, there were sufficient Ikebana students in SA who had achieved Teachers Certificates for Norman to implement the first SA Branch of ASTA (Australian Sogetsu Teachers Association).
The meeting held 1st. November 1977 with 16 present and 3 absent marks the commencement of our SA Branch. The most senior teacher at that time, Gwen Green was elected by Norman to be the first President/Director. Betty Goodall was nominated as Deputy President/Director and Rene Nicholson as Secretary/Treasurer.
Adelaide became the Australian Sogetsu Teachers Association (S.A.Branch) which later was incorporated. It managed all aspects of running such a branch, finance, planning of workshops, exhibitions and demonstrations. Fund raisers have been held over the years. Workshops, using various venues until now, are held on Saturday to include all members at the Banksia Park International High School – an excellent facility. Members have a set programme of two arrangements – 1 Basic and 1 Creative – with a member giving a demonstration.
In August 1996 A Thanksgiving Service for the life of Norman Sparnon was held at St. Jude’s Church, Brighton. A large flower arrangement was prepared by Marjorie Bromilow and Rene Nicholson with each member adding an individual flower. Masters Demonstrations , Exhibitions and Workshops have been given by: Mr. Norman Sparnon – Mr. Suzuki – Mr. Ohki and Mr. Yoshiro Umemura.
Over the years Ikebana Adelaide has exhibited at many events and venues, including;
· David Jones – until 2000
· Jam Factory using Artist’s made Containers
· Tokyo City Cup 1995-1997 and 2000
· Bonsai Society
· St. Peter’s Cathedral
· Hilton Hotel with Grand Prix theme
· Horticultural Society – Autumn Flower Show
· Royal Adelaide and Horticultural Show
· Japan Australia Friendship Association
· Austrade Gala Dinner at Hilton Hotel
· Lillium Society
· Iris Society
· Australian Plant Society
· Flinders University
· OzAsia Festival
January 2009
by Marjorie Bromilow
Ikebana is the Japanese way of arranging flowers. It comes from two Japanese words -ike - a way and hana-flower.
One of the ancient arts of Japan, it is steeped in tradition. Ikebana has its origins in the Buddhist religion, so the principles of design attitudes of study reflect the strong disciplines and deep awareness of nature in its total concept, which is so much a part of the Buddhist faith. When Buddhism arose in India, the monks, with their desire to preserve and care for all living things, began picking up branches which had been broken off in storms and placing them in vases on the altar, on either side of the Buddha. These branches were right and left handed, to create balance; so these first steps paved the way for the principles of a-symmetrical balance, which is the basis of all Ikebana.
Buddhism spread to China; this simple form of flower arranging going with it. At that time it did not develop any further in China. In the sixth century Japan first opened its doors to the outside world. Envoys were sent to China to discover what they could of the culture of that country. One envoy brought back the principles the Buddhist faith. He was particularly interested in their use of flowers and branches on the altar in the temples.
On the death of the Prince Regent, his master, he became a hermit, praying for the soul of the Prince and devoting his life to the study of arranging flowers, according to their form and manner and place of growth. He formulated a strict set of rules of measurement and design and balance. He lived alone in a little hut by a lake in the palace grounds and became known as "Ikenobo''-the hermit who lives in the hut by the lake. The set of rules and ideas, which he formulated, gave rise to the Ikenobo school, the first school of Ikebana. It still exists today's the great classical school from which hundreds of other schools have developed. The place where the hut is believed to have been is now a shrine in the grounds of the lkenobo school in Kyoto. lt is a special place of pilgrimage.
For many years Ikebana remained solely with the priests in the temples and its history is recorded only in picture scrolls. There are records of simple arrangements called Tatibana and massive Rikka, which sought to express grand and majestic nature. They were very large to grace the luxury of the Bhuddist temples.
From the colourful Muromachi period lkebana became more popular and was encouraged by the great Shoguns or war-lords that became patrons of the arts, built majestic palaces and employed their own flower masters. Ikebana was taught to their Samurai warriors as a gentle balance to their fierce fighting; a way to express the yo-in or positive and negative balance of all things.
During this time a very simple form of lkebana, chabana was developed along with the Zen tea ceremony. This was often an arrangement of only one flower.
With the establishment of the Meiji government in the mid eighteen hundreds Ikebana became available to everyone and was taught in girls' schools. Previously Ikebana was only in the hands of men (and most of the flower schools still have headmasters). By now many schools were developing and a new form, Moribana, was introduced. ln this form flowers were arranged in a shallow container and were held in place with a kenzan or needle-point holder.
Sogetsu School
There are now three main schools – Ikenobo, Ohara and Sogetsu and hundreds of smaller ones. Sogetsu or “grass-moon” school is the largest. It is a modern and creative school and its followers are encouraged to be adventurous in their approach and choice of materials, after first studying the strong principles of design and developing a deep awareness of natural form.
Sogetsu School was founded in 1927 by Sofu Teshigahara, its first sensei, then a young man with new and progressive ideas. He had been studying Ikebana from the age of seven and had a strong grounding in classical Ikebana. Feeling restricted by the classical classical approach he broke away from tradition and founded his own school giving it the name Sogetsu, or the new crescent moon. This is the school most commonly studied in Australia. As well as being a great flower master Sofu became a world renowned Japanese sculptor and was recognized as a National Treasure of Japan.
Sofu’s approach was strongly sculptural and he introduced great depth and movement into his arrangements. His view was that he had liberated Ikebana from the Tokonama, the traditional place of honour for the placement of arrangements. The Tokonama was limited in space and ambiance. Sofu wished to confront nature, not to copy it and was aware of the need for very large arrangements in areas of unconfined space.
In his new school Sofu formulated two basic styles and eight variations. The styles and variations could be combined in endless ways; in styles as various as the nature which inspired them. With the whole of nature as inspiration the possibilities are endless, although the arranger is still working within the principles of the art. The arranger and the materials are constantly being extended and, as in any creative art, the learning process never ends.The earliest introduction of Ikebana to South Australia was a demonstration by Norman Sparnon at the invitation of the SA Floral Art Judges School. Interest was such that in 1963 there were sufficient people for Norman to commence teaching in SA. At that time it was necessary to apply to Norman to attend his classes. Norman would travel to SA every 4 months to teach over a period of 4 days. These lessons were studied from a primer by Sofu Teshigahara; the Basic Styles and Variations that we study today.
The South Australian Branch
by Betty Goodall
Prior to 1978 each Branch of the Sogetsu School in Australia was managed by Mr. Norman Sparnon OAM. After 1978 each was made autonomous.
By 1977, there were sufficient Ikebana students in SA who had achieved Teachers Certificates for Norman to implement the first SA Branch of ASTA (Australian Sogetsu Teachers Association).
The meeting held 1st. November 1977 with 16 present and 3 absent marks the commencement of our SA Branch. The most senior teacher at that time, Gwen Green was elected by Norman to be the first President/Director. Betty Goodall was nominated as Deputy President/Director and Rene Nicholson as Secretary/Treasurer.
Adelaide became the Australian Sogetsu Teachers Association (S.A.Branch) which later was incorporated. It managed all aspects of running such a branch, finance, planning of workshops, exhibitions and demonstrations. Fund raisers have been held over the years. Workshops, using various venues until now, are held on Saturday to include all members at the Banksia Park International High School – an excellent facility. Members have a set programme of two arrangements – 1 Basic and 1 Creative – with a member giving a demonstration.
In August 1996 A Thanksgiving Service for the life of Norman Sparnon was held at St. Jude’s Church, Brighton. A large flower arrangement was prepared by Marjorie Bromilow and Rene Nicholson with each member adding an individual flower. Masters Demonstrations , Exhibitions and Workshops have been given by: Mr. Norman Sparnon – Mr. Suzuki – Mr. Ohki and Mr. Yoshiro Umemura.
Over the years Ikebana Adelaide has exhibited at many events and venues, including;
· David Jones – until 2000
· Jam Factory using Artist’s made Containers
· Tokyo City Cup 1995-1997 and 2000
· Bonsai Society
· St. Peter’s Cathedral
· Hilton Hotel with Grand Prix theme
· Horticultural Society – Autumn Flower Show
· Royal Adelaide and Horticultural Show
· Japan Australia Friendship Association
· Austrade Gala Dinner at Hilton Hotel
· Lillium Society
· Iris Society
· Australian Plant Society
· Flinders University
· OzAsia Festival
January 2009
