Succeeding the “Iemoto” at age 6

Ohara-ryu is a Japanese flower arrangement school that has been around since the 19th Century. We interviewed the 5th ”Iemoto” or head, Hirotaka Ohara, born in 1988, 10 years younger than Nakata. He succeeded the Iemoto at age 6 when his father passed away. He presented his works for exhibition for the first time when he was 10, and in March of 2012, his first solo exhibition took place at Takashimaya department store in Tokyo, where it attracted about 45,000 visitors over 6 days.
Some of his work expresses something unimaginable from the word ”ikebana”. Some are installations as big as several meters, and some use artificial material, perhaps expressing an evolution of the traditional world.

Ohara-ryu Undergoing Change

“The traditional style of Ohara-ryu was established by the first and second Iemoto,” the current Ohara Iemoto told us. One of the characteristics of Ohara-ryu ”ikebana” is “moribana”. Until then, ”ikebana” mostly had to do with linear lines, and thus ”moribana”, which uses a wide open vessel, arranging the flowers so that it can be enjoyed 3-dimensionally, was an Ohara-ryu invention. ”Moribana” made it possible to express the surface and the depth through ”ikebana”.
There were also transitions within the traditional methods. The 3rd Iemoto perfected an art form with surrealism, and the 4th Iemoto incorporated modernism, an artistic form that would match Western style space. The current Iemoto himself creates art that relates to modern art. Tradition is inherited, and is expanding its ways of expression.

Culture is Like Glue that Connects People

Ohara arranged flowers while we watched. He cut the branches off and started to create his work. The key is “to figure out what to delete to emphasize something else.” Nakata seemed intrigued by the Iemoto’s movements, and commented, “This is totally beyond my realm of imagination. My hands would just freeze, not knowing what to do.”
“”Ikebana” as I see it, is just sheer fun. Coming in touch with the flowers, and arranging them.” Ohara commented. “So it’s important to merge it with my lifestyle. In the past, ”ikebana” was associated with authentic Japanese such as ”kimono” and ”tatami” mats. These days it’s more often taught using tables. Of course we continue to teach the fundamentals, but the true essence has to do with freedom of expression.” As more students come to the schools, the ”ikebana” community expands. “I think culture is like glue that links people together.”
We have encountered people, flowers and tradition via ”ikebana”.
This is the culture and the charm of ”ikebana”.

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Displaying for the mother-in-law?

“When teaching at a college, I asked the students, “What kind of image do you have of ”ikebana”?” and a male student answered, “It’s something you would do sitting formally on a tatami mat in front of your mother-in-law.” I was shocked!” Akane Teshigawara, 4th Iemoto to Sogetsuryu Ikebana said with laughter.
Sogetsuryu Ikebana totally contradicts this image. Some of the pieces created by the Iemoto were huge, as big as a stage, using bamboo.
“This is considered ”ikebana” as well. My father was the first to adopt bamboo in his work, and the works tended to become very big. I myself made a stage using bamboo at the Imperial Villa in Numazu. It was gigantic. I braided vertically cut narrow bamboo and constructed the stage using a crane. Of course we have rules and the fundamentals, but more importantly, what exists inside the person arranging the flowers rules over that. I believe the fundamentals exist to help express that image,” Iemoto Teshigawara told us.

Transition of Ikebana

“The characteristic of Sogetsuryu is that it changes. Flowers change according to the arranger’s emotions. The creation is dependent on what it’s meant to express.” Teshigawara explained.
Nakata commented “I’m not sure how to appreciate ”ikebana”.”
This is up to the individual, Teshigawara explained, “For example, someone may create a dynamic work of art, hoping to express strength and energy. But some people may simply sympathize with the flowers being taken out of their natural environment. There is no correct answer to how you relate to the work. “
“But,” she added, “The creator must always add feeling and emotion. Unless their feelings are added, the value of the piece cannot be evaluated. The work would rely only on the beauty of the flowers themselves. To live up to a level of appraisal, you need to add a piece of “yourself” in it.”

Being Witness to the Birth of Art

At the end, Teshigawara showed us an ”ikebana” demonstration. She made 2 pieces. The vase was one of her own creations. Her grandfather not only practiced ”ikebana”, but was also a calligrapher. Her father likewise practiced calligraphy, made his own ceramics, and was also a movie director.
As we watched, the vase and the plants take on a different form. Teshigawara not once stood with her back to Nakata. This form is called “ushiroike” meaning the work is created from behind the vase, showing every single transition of the creation. Her motions are at times swift, and other times very thought out.
Nakata asked after it is completed, “Do you have a final image in your mind before you start, or do you make it along the way?”
“I start with an image, but plants do not always comply. The exciting part about ”ikebana” is that you need to resonate with the plants. You have to communicate with the plants and sometimes, they may not be the exact shape or color you had imagined when you take them in your hand. You need to be flexible, which is the most exciting part about ”ikebana”.” There are no two plants exactly alike. Thus it is a collaboration between man and flower.

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Traditional Flower Arrangement and Free-style Flower Arrangement

Founded in 1886, Ryusei-ha is a school of ”ikebana” which celebrated its 125th anniversary in 2011.
We talked to Kashu Yoshimura, Iemoto of Ryusei-ha. Originally an architect, he started to study the art of flowers as a way to learn more about void spaces, an element valued in ”ikebana”, hence his use of space is highly recognized and appraised. He arranges flowers in both the traditional Ryusei-ha method and in freestyle as well. Freestyle is done in large installations, He is not particular about material either, and has worked with artificial flowers as well.
Yoshimura said “Today, I’d like to have Nakata-san try out freestyle.” “Freestyle is actually the most difficult,” Nakata grimaced.
More about Nakata’s creation later. We’ll discuss the iris Yoshimura arranged first.

Seasonal Differences

The iris, arranged in the traditional way. There are differences in style in each ikebana school, but the Ryusei-ha has “rules” and these rules need to be followed. For example, two leaves are joined together, and the positioning of the flower and leaves differs according to the season.
This time, the piece represents summer. The positioning of the flower should be at the top, which expresses its prime. For spring, the leaves are positioned higher than the flowers and depicts its growth in the oncoming season. For autumn and winter, fruit is used or sometimes dead leaves.
Nakata asked, “If the expressions are different by season, does that mean that what ikebana is trying to do is to reenact nature itself?”
“That is a good question. The objective is not just to depict nature, it’s ”whatever you want to express, though it may not grow that way in nature”. You should still try to value its natural state. In this piece, I used one bulb to express how an iris starts its growth in early summer. This is the exciting part, where you imagine what is being expressed.”

The difficulty of being free

“Next is your turn!” Monstera leaves and a gigantium flower is prepared. With freestyle, any shape, color, vase, can be used. Nakata chose a unique white vase with many holes on the side.
“Maybe this might not be the best choice.” Nakata commented weakly. He started off with a pair of scissors and a monstera leaf in his hand. The first cut takes the longest time.
”The monstera leaf has a different expression when you look at it from the other side. From the side, it’s frilly. You can use it to express different things,” Mr Yoshimura advised. Nakata took a long time to arrange the monstera leaf. Then he took quite some time again with the gigantium.
He gradually starts to enjoy the “freedom” and eventually finishes. As soon as he finishes, he reaches out once again and bends the monstera leaf, tucks it under the flower to make it look like a flower placed on a plate.
“Does that look a bit crowded?” Nakata contemplated after looking at his work again.
“That is one way of expression. Take a look at it from the side. It shows another expression, does it not? And what if you place a branch here, then you would be able to create a partition and …” Freedom enhances so many ideas, and the conversation continues endlessly.

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Observing the process

”Ikebana” is a form of flower arrangement established during the Muromachi period. Back then they were only appreciated by the higher classes. However, from the middle to the end of the Edo period, it became popular and spread among the commoners. The 3rd Iemoto of Ichiyoshiki Ikebana, Akihiro Kasuya commented, “People may think ikebana is all about the final arrangement, but “I want people to actually see it being created.””
“If you see the process, you’ll be able to observe “Oh, that’s how that flower is going to be used!” or “Oh? What is he thinking about doing next?” allowing you to take part in the whole process, offering a completely different perspective.”
Nakata nodded in agreement and said, “Yes, that is true. I had an opportunity just the other day to observe a live demonstration. It was quite a dramatic experience. “

Relating to flowers in your own way

Kasuya was born in Tokyo as the 3rd son of the second Iemoto and learned about flower arrangement since his youth. When he was 17, he began to present flower exhibitions in and out of his school, but in 1967 he traveled to New York to study interior design. We mentioned Kasuya’s comments of the importance of “seeing actual demonstrations,” and that is what Kasuya does most of the time. He holds impromptu performances.

Nakata asked, “Then how important is the ”style of the school”?”
“Our school tries not to deny anything. “Style of the school” is necessary as the basics during the learning process, so it’s important in that sense. However, when you want to express yourself, people should communicate with the flowers in their own way and do this freely.” I’ve used dead plants and even bleached ones as well. You can even use flowers upside down.”

Ikebana Experience

A blue vessel was placed in front of Nakata, encouraging him to try it for himself. But where should he begin?
asuya picked up a ”kenzan”.
“In the summer, I think it’s good to place this in the back, and in the winter place in the front.”
Seeing the perturbed look on Nakata’s face, Kasuya commented. “Ikebana is not just about the flowers, but everything comes together to form the final artwork. The water in the vessel is a part of this art too. If you place the ”kenzan” further back, it shows the water in the front. That creates a cool soothing effect.”
Interesting. You tend to focus on the flowers and the shape when you don’t anything about the artform, but ”ikebana” as an art includes the water as well.
With assistance from the Iemoto, Nakata selected branches and arranged the flowers. Exactly where he places them was left up to Nakita. This is what the Iemoto meant by “The moment of creation.”

The post “Ichiyoshiki Ikebana”, Akihiro Kasuya Empathizing with the Flower Arrangement first appeared on NIHONMONO.