The arrangements of flowers offer far more than a pattern employing flowers and foliage neatly distributed in an appropriate container.
Not only is it a form of relaxation, but flower arrangement reawakens an awareness of nature upon which a philosophy – that of restraint and simplicity — is based.
The most important things to remember in good flower arrangement are the line, its force and strength; colour and its function where applied flowers: the former the flower receptacle and its influence on the form of the floral design.
The longest leaf in an arrangement is measured by the width of the bowl; if the container is low, a ratio of one and half times the width of the container should be adhered to. Japanese designs frequently exceed this measurement, even attaining a great height but they never go under that proportion.
In much of Japanese classical designs, there is expressed the famous Hogarth curve of beauty, of the letter “S,” which is a criterion as an art principle and is easy to apply. This method is intriguing and delightfully simple.
The distinguishing feature of the Japanese classical design is the adherence to a symmetrical balance, the placement of three important levels, the emergence of all stems from one stalk, the tip of the tallest bisecting its base, the employment of the odd number, and the inevitable selection of shrubs and flowerless trees instead of flowers.
Although Japanese design seems most formal, in reality, it is most flexible.
The method is merely a discriminatory pattern based upon years of experience in this ancient but exquisite art.
One can learn much from the traditional style of the Japanese. It is not only a method of design but more — a philosophy akin to an appreciation of life. The very nature of existence is depicted in that only three things are of importance — heaven, man and earth. Upon this trio is built the Japanese art of flower arrangement.
Many misunderstand the quiet serenity and intent of a true Japanese design. Consequently, for them, it does not have beauty or give emotional satisfaction. If, however, to these same rhythmic lines, flowers expressive of the season or flowers selected for their lovely colour are inserted, it will enhance and beautify the design immeasurably. When this is done it becomes a classical adaptation.
The style of Japanese flower arrangements are based entirely on realism, which is to interpret nature as it actually exists.
Very few flowers are needed to construct a Japanese arrangement. The most primitive, yet the most satisfactory flower holder for these arrangements are the Y-shaped wooden holder or the crotch of a tree frequently used by the Japanese.
Illusion of growth
In one very beautiful flower arrangement, only three or four pussy willow branches are required but the line is perfect and branches springing from the trunklike base, give the illusion of growth and a true representation of nature.
One branch from a plum tree may be used springing from the root an old tree. The lines their purity, appear to be etched. The placement of the branch suggests the new growth in youthful vigour from the root of an old tree.
Add a few blossoms to the branches in the right line and balance and you have a classical design.
You may also be interested in
Available for sale from browngrotta arts, Masakazu Kobayashi, Sound Collage N99 (1999), Silk, rayon and aluminum, 55 × 115 × 5 in Masakazu Kobayashi is a Japanese textile designer. He studied at the University of Arts, Kyoto, Japan. Between 1966 and 1975, he worked as a textile designer for Kawashima.
Born January 13, 1930 Education Kyoto University Known for Graphic Design Ikko Tanaka was a Leading Graphic Designer in Japan. He had an enormous impact on the post-war visual culture in Japan. He is widely thought of as the Father of Japanese graphic design. He merged Japanese traditional forms and colours with International Style Modernism.