Insight into Ikebana — The Art of Japanese Flower Arrangement

By George Piggott

My introduction and consequent involvement into the wonderful art of Ikebana began in the late 1970’s. It happened whilst attending the general week of the Buddhist Society Summer School at High Leigh, Hoddesdon, Herts. This was an annual event, attracting one hundred people or more, “seekers” with enquiring minds into Buddhism and philosophical questions and answers of a spiritual nature. All the teachings were spread over a period of two weeks during the month of August. The weather was usually ideal with an abundance of warm sunshine. This gave everyone a golden opportunity to relax and enjoy the beautiful surroundings which stretched over several acres. It included lawns, gardens, lakes and a well established area containing many fine species of trees. A perfect place to find shade on the very hot days!

It was during the general week, where for a number of people it was their first experience of High Leigh, that periods were allocated daily for those interested and willing to participate in either Tai Ch’i Chuan or Ikebana, or both providing one had the energy! This was accepted as giving harmony and balance to the more serious side of the various studies on the agenda. All the items were optional, allowing each individual to proceed at a pace suitable to their needs. The study week was considered more appropriate for those already committed to the various Buddhist teachings, and as such, much less free time was available.

Ikebana under the direction of the late Stella Coe (the only recognised Sogetsu Master outside Japan) had been part of the Buddhist Summer School curriculum over many years. We were all privileged, not only for her tuition and guidance, but for the use of her equipment, which she brought along each year. In the late 1920’s, Stella lived in Japan for about twelve years and was attracted by the Ikebana arrangements that were all part of Japanese life. It was during this period that she was able to begin her studies with qualified teachers, eventually becoming a Master in her own right. In later years, in response to a request, she founded the first British Chapter in London. From then on, it went from strength to strength.

Stella Coe was the author of several books on the subject, travelling all over the world to give lectures and demonstrations. Alas, time and space do not allow the writer to give full credit to all this gracious lady accomplished during a period spanning over fifty years.

But most important it must be realized that Stella loved her work and was devoted to sharing all her skills and knowledge with those who were prepared to listen and participate. She was the essence of Ikebana and all it portrays, a selfless teacher, a unique Master, loved by all her pupils and friends.

As enthusiastic students, we all set about collecting our own material from nature’s reserves — the local hedgerows which were in abundance only a short trek into the wide open spaces adjacent to the grounds of High Leigh. Needless to say, there was much laughter and banter going on between us, as we set about our task. I remember there were plenty of scratches and spots of blood, as the thorns took their toll on our vulnerable fingers! We quickly realized that it is all part of the learning process! We were also careful to cut and take away only enough material to complete our arrangements, mindful of the fact that fresh foliage was available every morning if required. With all the good food consumed, we needed the exercise!

Summer School provided an opportunity for a novice like myself to enjoy being part of a group and learn the basic skills of Ikebana. It also proved productive and useful during the week, as the completed arrangements were ideal to be dotted about the various lecture rooms, hallways and dining area, to give everyone tranquil moments of pleasure as they made their way to and fro, many of them in a serious mood with minds deep in contemplation, as thoughts wrestled incessantly for answers to questions that only required observation! ”Then let go!”

Each arrangement was changed on a daily basis, which gave us pupils plenty of scope for practice, variation and imagination, but, most important of all, the chance to concentrate on the practice of Mindfulness — essential as part of this absorbing art.

There are many schools of Ikebana, worldwide now with an international following. The variations and styles are a formidable challenge! Stella in her infinite wisdom taught us the comparatively simple style of moribana, as practised in the Sogetsu School. The term moribana covers all arrangements done in low shallow containers, which for beginners is a fairly easy and ideal introduction.

One can only give a brief account of experience in this article, as Ikebana as a subject requires countless hours of study and practice over a number of years for a student to become fully proficient in the art.

As in life, most forms of art demand a reasonable degree of discipline and order. This also applies to this form. There is a general set of rules to be adhered to, but these are considered to be flexible, not rigid, so that adjustments can be made. This includes the container, which will require at least 8 cms. of water to cover the pinholder securing the plant material, keeping the arrangement alive. The three main placements, usually branches of some description, are referred to as Shin, the longest, Soe, three quarters the length of Shin, and Hikae, three quarters the length of Soe. Bear in mind of course that these are only guidelines. A kenzan, or pinholder as it is sometimes referred to, is small but quite heavy with rows of vertical brass pins, needle sharp. These will hold the material when placed in the required position. So to start with very little is needed, apart from a pair of sharp secateurs, or hasami (Japanese scissors).

Continued in part 2

Comments

Your words are a true joy to read. I am very happy to study something about Stella Coe Sensei, after many many years of knowing her name and knowing something about her from the great Shambhala teacher, Chogyam Trungpa Rinpoche. He too was one of her students; and all he learned flowed naturally into his style of teaching. So in this way she is the secret teacher of thousands like me who studied with Rinpoche. For example, he always used flowers and flower arrangement as a metaphor as upaya.

Jack Convery SoKo, 15^th June 2010