Ikenobō
Ikenobō (池坊) 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, Ikenobō 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 in Kyoto 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 Ikenobō 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.
Development of Rikka
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. The description in Hekizan Nichiroku (a diary of the monk Daikyoku, 15th century) of many people vying to see arrangements by Ikenobō Senkei is the first record of Ikenobō ikebana.
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 today.
The Ikenobo Institute refers to the name of the buildings currently surrounding the Shiunzan Chohoji or Rokkakudo temple in Kyoto. Use of the family name Ikenobo was granted by the Emperor of the time and succeeding generations of head priests of the temple have used this name. 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 Ikenobō Senno (Senno Kuden, 1542) were written. Senno, the founder of Ikenobō kado, originated ikebana that was filled with meaning (kado or way of flowers). Previously, tatehana had more of a connection to the spiritual practice of Yorishiro.
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 Ikenobō masters named Senko I and II, completed the rikka style (also meaning standing flowers, but with more complexity than tatehana) and Ikenobō reached a high point of its early history. Paintings depicting the rikka of Senko II, a famous master of Ikenobō, 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 Ikenobō Headquarters (Kyoto). The arranging of rikka as a style with five main parts which later developed into the standard seven part rikka we see today (shin, soe, uke, mikoshi, nagashi, doe, hikai 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 Ikenobō 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 Ikenobō appeared. Shoka was firmly established in Ikenobō 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), Ikenobō 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).
Development of Shimputai
Shoka shimputai, a new style of shoka developed in 1977 by 45th generation Headmaster Ikenobō 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.
Ikenobō’s current 45th generation Headmaster, Sen’ei Ikenobō, 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 Ikenobō 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 Ikenobō's professors and students from throughout Japan and the rest of the world. Here at the center of Ikenobō'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 Ikenobō around the world.
References
- ↑ Kenkyusha's New Japanese-English Dictionary, Kenkyusha Limited, Tokyo 1991, ISBN 4-7674-2015-6