Ikenobō

'Ikenobō' (池坊, Ikenobō) is the oldest and largest school of Ikebana, or Japanese floral art in Japan.

It was founded in the 15th century by the Buddhist monk Ikenobō Senno. The school, currently headed by its 45th generation headmaster Ikenobō Sen'ei, is based in the Rokkaku-dō Temple in Kyoto. Additionally, Ikenobo has hundreds of chapters around the world.

History

The custom of placing flowers on the altar began when Buddhism was introduced to Japan by way of Korea in about 538. The Rokkaku-dō Temple is the site of the birth and earliest development of ikebana. The name Rokkaku refers to the hexagonal shape of the temple. Rokkaku-dō Temple was founded by Prince Shōtoku in the 6th century to enshrine a Nyoirin Kannon Bosatsu, the Goddess of Mercy. Near a pond (ike) where Prince Shōtoku bathed, a small hut (bō; priest's lodge, monk's living house attached to a Buddhist temple^[1]) was built and became the home of succeeding generations of Buddhist priests. This gave rise to the name Ikenobō. In the temple grounds, there is a stone called "Heso-ishi". It means "bellybutton stone". It is said that it was the foundation stone of the original temple. Because this temple existed before the transfer of the national capital to Kyoto in 794, it has been said that the position is the center of Kyoto.

In the Heian period (794-1192), apart from altar offerings, the practice of enjoying flowers displayed beautifully in a vase also became popular. Poems, novels and essays from that time contain many passages which describe the appreciation of flowers used in this way. Not satisfied with merely appreciating flowers in a vase, Japanese people in the early 15th century tried to give wider meaning to placing flowers in a vase. An earlier attitude of passive appreciation developed into a more deeply considered approach. This approach forms the basis of what we call ikebana today.

According to a 15th-century manuscript, the two of the most popular flower arrangers of the time were the Ikenobo master Senkei and Ryu-ami, a tea master. Unzen Taigyoku, a monk belonging to a Zen Monastery first recorded the name Senkei in his event and tea journal called Hekizan Nichiroku. In an entry dated February 25 of the third year of the Kanshō era (1462), Unzen Taigyoku wrote, “at the invitation of Shunko, Senkei made a floral arrangement in a golden vase and denizens of Kyoto with refined tastes vied to see his work”. This written record marks the starting point for 550 years of recorded Ikebana history. Additional historical documentation of Senkei’s work is virtually nonexistent with one October 2 entry in the Nekizan Nichiroku journal describing how Senkei is moved by the extraordinary beauty of chrysanthemums.

Legends of the Rokkakudo

According to legend, when Prince Shōtoku 聖徳太子 was a child on Awaji Island he found a small Chinese chest which had floated ashore. Opening the lid, the prince found a gold image about 5.5 cm long of the Nyoirin Kannon, which he decided to keep as a sacred Buddhist image or amulet. He prayed to the Kannon to bring him success in his life ahead, promising Kannon that he would build Shitenno-ji Temple (in the area of present Osaka) if he was successful.

In 587, Prince Shotoku decided to build the great temple of Shitennoji in Osaka and in order to find building materials the prince journeyed out from Osaka. It was a very hot day and the prince stopped by a pond to cool down. He took off his clothes and also the precious amulet he had received in order to bathe in the pond. He placed his clothes, and with them the Nyoirin Kannon on a tree near to the pond. After he had a swim, he went to put on his clothes and put the Nyoirin Kannon back in his pocket but for some reason suddenly the Kannon seemed to be too heavy to pick up and the prince was unable to continue. So the prince decided to spend the night there beside the pond and await the morning.

During the night he dreamed that Nyoirin Kannon appeared to him saying, “With this amulet I have given you, I have protected many generations but now I wish to remain in this place. You must build a six sided temple and enshrine me within this temple. Many people will come here and be healed.” So Prince Shotoku built the temple and enshrined Nyoirin Kannon within it.

In 1204, when he was 29 years old, Shinran Shonin (1173 - 1263) decided to spend 100 days in seclusion or privacy at Rokkakudo Temple. On the 95th day, Kannon appeared to Shinran in a dream and told him to forgo his vow of celibacy and marry. She told him that she would appear to him in the form of a woman and they would become lovers and enter into Amida’s Paradise. She then told him that he should seek out Honen, his teacher, and found a new order of Buddhism that encouraged clerical marriage and family life. There is a small hexagonal hall at Rokkakudo with two statues of Shinran – one seated in a dream trance and one standing with walking staff and beads.

About Ikenobo Ikebana

Development of Rikka

Not satisfied with merely appreciating flowers in a vase, people in the early 16th century (the middle Muromachi period) tried to give deeper meaning to the thoughts accompanying the process of arranging flowers. In other words, they wished to arrange flowers (tateru, to arrange stems in an upright or standing manner), rather than simply placing them in a vase. An earlier attitude of passive appreciation developed into a more deeply considered approach. This approach forms the basis of what we call ikebana .

From the late Kamakura period to the Muromachi period (late 13th -16th century), large contests of flower arranging were held at the Imperial Court on the day of Tanabata (the Festival of the star Vega, the seventh day of the seventh lunar month). These contests were called Tanabata-e . Aristocrats and monks vied with each other in demonstrating their skills, offering flowers in honor of the Festival. According to a 15th-century manuscript, the two finest arrangers of the time were the Ikenobo master Senkei and Ryu-ami, a tea master. The description in Hekizan Nichiroku (a diary of the monk Daikyoku, 15th century) of many people vying to see arrangements by Ikenobo Senkei is the first record of Ikenobo ikebana.

Ikenobo refers to the name of the buildings associated with the Shiunzan Chohoji or Rokkakudo Temple in Kyoto, as well as the name of the family which has served in succeeding generations as head priests of the temple. The Rokkakudo has been popular from ancient times as a place for the worship of Kannon (the Goddess of Mercy). The townspeople of Kyoto used this temple as a place for gatherings, at which times flower arrangements were placed in the temple.

It was toward the end of the Muromachi period that the earlier simple way of setting flowers in a vase developed into tatehana (tateru, standing; hana, flowers), a more complex style of ikebana. It was also during this period that the oldest extant manuscript of ikebana ( Kao irai no Kadensho, 1486) and the famous manuscript about ikebana by Ikenobo Senno ( Senno Kuden, 1542) were written. Senno, the founder of Ikenobo kado, originated ikebana that was filled with meaning, and which was quite different from previous arrangements that had shown only the prettiness of flowers.

The Azuchi-Momoyama period (late 16th century) brought a renaissance in ikebana as well as a general renaissance in Japanese culture. At this time two Ikenobo masters named Senko completed the rikka style (also meaning standing flowers, but with more complexity than tatehana) and Ikenobo reached a high point of its early history. Paintings depicting the rikka of Senko II, a famous master of Ikenobo, are preserved at the Manshuin Temple (Kyoto), the Yomei-bunko library of the Ninnaji Temple (Kyoto), the Tokyo National Museum and the library of the Ikenobo Headquarters (Kyoto). The arranging of rikka as a style with seven main parts (shin, shin-kakushi, soe, soe-uke, mikoshi, nagashi, and maeoki) was established at this time.

After Senko II died, rikka gradually became more complex and mannered. The birth of the shoka style of ikebana brought new interest into the world of ikebana.

Development of Shoka: Early Nageire

Nageire, a more informal style of arrangement, had been practiced even during the earlier period when rikka was developing. Nageire had been a style of decoration for the zashiki, while rikka, the most formal style, was used for rites and ceremonies. The townspeople favored nageire, which presented the natural beauty of flowers without complicated rules.

In 1684, Toichiya Taemon, a merchant, wrote the Nageire Kadensho ( How to arrange flowers in Nageire style ), and in 1697, Kodai Shoka Zukan ( Collected Paintings of Historic Shoka Works ) by Ikenobo Sen'yo was published. Nageire influenced the development of early work in the shoka style. Shoka at this time was very simple. Only two main branches (or flowers), one of which was called in (negative) and the other yo (positive), were used in arranging the work. These would later develop into three main parts, called shin, soe, and tai.

The shoka style developed over a long period, during with many schools of ikebana other than Ikenobo appeared. Shoka was firmly established in Ikenobo Senjo's work Soka Hyakki ( One Hundred Examples of Ikebana, 1820). He also edited Heika Yodo-shu, in which the traditional methods of rikka were described in detail.

In the Meiji period (1868-1912), Ikenobo Sensho set down the regulations of shofutai shoka, shofutai meaning orthodox or traditional style . Mannerism again began to appear, and efforts to break away from this mannerism were not successful until the Taisho period (1912-1926). The styles of modern nageire and moribana, and modern styles of shoka were the result. These styles were also greatly influenced by the importation of European culture, beginning during the Meiji Restoration (1868). Nageire and moribana could be used in either traditional Japanese or westernized houses and rooms.

After World War II, ikebana began to be regarded by some as art, with the result that works of avant-garde Ikebana appeared. Wire, metal and stone, as well as flowers were used to the extent that it was sometimes difficult to distinguish this work from sculpture. This movement inspired the birth of free style ikebana (jiyuka), which is completely liberated from the regulations of traditional ikebana. On the other hand, refined and dignified ikebana styles with traditional origins, such as rikka, and shoka, have also experienced a rebirth.

Development of shimputai

Shoka shimputai, a new style of shoka developed in 1977 by 45th Generation Headmaster Ikenobo Sen'ei, presents a bright, modern feeling. Two main parts, shu and yo, respond to each other with contrasting yet harmonious qualities. A third part of the arrangement, ashirai, is often added as a finishing touch. Following a period of development of shimputai the new principals were also applied to Rikka and Rikka Shimputai has become very popular in the new century.

IKENOBO’s current 45th generation Headmaster, Sen’ei Ikenobo, believes that the possibility of creating new styles depends on the desire to refine one’s own character, a spirit that has been passed down to us as the essence of Ikebana itself.

As a continuing center in the world of ikebana, the Ikenobo Headquarters stands adjacent to Rokkaku-do Temple, where ikebana began over 550 years ago. The Headquarters is home for communication, ongoing, study, and workshops for Ikenobo's professors and students from throughout Japan and the rest of the world. Here at the center of Ikenobo's rich tradition, students receive both classical training and encouragement to explore modern arrangements in contemporary life, including Rikka, Shoka, Free Styles and Shimputai. Local chapters spread the traditions of Ikenobo around the world.

References

External links

• Ikenobo Colorado
• Ikenobo Lake Washington Chapter - Kirkland, Washington