Evening star. [volume] (Washington, D.C.) 1854-1972, 1889-09-07
ARRANGEMENT OF FLOWERS.
The Art - II is Pr.cticed In japan and
Its Principles.

PhoDaUfv soon De among US, ana 0ouDtle6s In
full possession Of our houses. It may be well,
therefore, while there is yet time, to critically
examine the invader and make up our minds
as to the character of the reception which
should be accorded in the first instance; the
ultimate result can scarcely be a matter of
doubt, although the degree Of resistance may
vary. That the subject is one of some import
ance will readily be understood when il is men,
toned that the new art is that of arranging
fowers-new in this country, but old as the
other arts in Japan The apostle of the new
cult is MIR. Gender. an architect in the serv-
Ice OF the japanese government, who has
devoted some study to the subject. and
VINO lately exPounded the theory and principles
OF japanese Hover arrangements before an au-
dience OF cultivated foreigners in Toxic, the
capital of japan. He explained that the prin-
ciples governing japanese floral compositions
were totally different from those applied to
flower arrangements in Europe. In the latter
the blossoms alone receive attention, and are
crowded together IN rich masses of color with
little attention to individual form and total dis
regard OF the lines of stems, branches and of
the character Of growth; in Japan, on the other
hand, the basis of all flower designs is a series
OF harmoniZing lines in which the stems and
branches play the most important part This
instructive perception of the beauty of har-
monfous lines is everywhere noticeable in the
arts Of Japan.
ITS HISTORY AND SCHOOLS
The art OF flower arrangement, like all other
arts IN Japan, has long history and has its
various schools. At first it appears to have
been mainly connected with Buddhism: then
indigenous schools arose, instructed by some
men OF more than usual originality and mental
visor. In faetits history appears to have taken
very much the same course as that of the pic
torial arts, with which DIR. Anderson has lately
made the western art world familiar The most
popular school of the present day is the En-
shlu- According to the doctrines of this sect
or school, as enunciated by Mr. Gender, all
flower arrangements were built about an
imaginary skeleton formed of lines of bal
anced curves. Symmetry, the most elennen-
tary kind OF balance in composition. was es-
chewed, but more subtle harmony was OBJ
tapped, far more in conformity with the prin-
oiples OF beauty as discoverable in natural
forms. The ordinary flower arrangements were
two, three, five or seven-lined, and a somewhat
different character was bestowed upon these
lines according as they we're applied to stand
ing or to hanging arrangements. Intimately
connected with the character of flower COM
positions was the form of the vessels employed
OF which there were several kinds adapted for
standing. resting against the wall or pillar
or suspending. Among these we're certain
curious. vases made of bamboo cylinders with
several side openings intended for the arrange
ment OF flowers in several stages. In these
compositions, which contained several kinds of
plants or trees in combination, the locality of
growth and special character were never lost
sight OF, distinction being always preserved
between trees, land plants and water plants.
In selecting and arranging flowers the
appropriate season and, in the case
OF plants common to several seasons.
the peculiar character at the par,
ticular season were never lost sight of. Used
in combination some held higher rank than
wit iatia 90 Al,
species the colors had a certain order of prece-
dence. White blossoms as a rule ranked first.
but there were several exceptions to this rule
The idea Of sex was applied in several WAYS to
the character OF leaves, stems and blossoms in
combination, the leading idea of such dis
tinctions being to produce a pleasing variety
and to avoid redundancy. Many curious fam
cies existed with regard to the selection of
trees and plants. Those having poisonous
properties IN stem, root or flower and some
suggestive OF ominous association, either on
account OF their names or owing to accidental
tradition came under the ban of i'll luck and
were studiously avoided.
GOOD DEAL OF CEREMONIAL
was mixed up with the practice of arranging
flowers. Flower gatherings were often held. at
which it was usual for the guests to make flower
compositions, in which case certain etiquette
was to be followed both by visitors and DIV host.
Special occasions, such as weddings, comines
OF age, house warnings. welcomiugs farewell
gatherings, and anniversaries all had appro-
pirate flowers and appropriate methods of de-
signing. Harmony was required between the
flower groups and the wall fixtures in front of
which they were placed. This related both
to harmony Of lines and proportion as well as
to harmony OF character. One must not clash
with the value, motive, or effect of the other.
and II possible the combined arrangements of
picture and flower group should have a con-
nf POI Ia
picture representing water landscape being
used, the flowers arranged in front might be
irises or other water plants suggestive
Of the foreground Of the landscape. Some
OF the most popular flowers were treated in a
variety OF ways, at first sight seemingly capri
cious enough but actually founded upon close
observance Of natural laws. Combined branches
OF cherry blossoms were to have buds in the
center and top, and blossoms at the base and
| sides. inasmuch as the cherry tree Commenced
poisoning from the lower side branches. In
| the same way arrangements of autumn leaves
| were to be redder near the top, because banks
OF maple trees become redeemed first toward
| the top of the slope. After the general ar
Tangement OF the composition into harmonious
lines, special attention was devoted to the dis
tribution OF blossoms, buds and leaves. With
| iarge-fowered plants, such as the chrysanthe-
mum and peony, an over-crowding of blossoms
| was studiously avoided, and full flowers, buds
and half-opened flowers were distributed with
VARIETY OF FORM AND BALANCE OF MASS.
Certain plants such as the Chinese orchid, were
valued only for their fine oval leaves and with
certain other towering water plants, like the
iris and narcissus, the long blade-shaped leaves
received more attention than the blossoms.
The judcious grouping, bending and turning
of these leaves, SO as to reveal their different
surfaces without redundancy, formed an inn
portant branch of the art. Fanciful classifica-
| tions into male and female principles and into
| imaginary functions. such as dew-drippinR leaf.
| dew-holding leaf, spring leaf and winter leaf
came to the assistance of the designer in pro-
| ducing becoming effects. Skill in manipulation
| was only to be acquired by patient practice.
The artificial form impaired to branches and
stems was obtained by bending and in
! the case of unyielding material, by
means Of more violent crushing, splitting and
even temporary bandaging Methods were in
use for increasing the vitality of certain
branches by means Of drugs, fire and hot water.
| The two Last methods were applied to the ex-
| tremities of cut branches to increase their
power of suction, and the drugs, consisting of
| tea, cloves and spice we're employed as stimu-
lants. The firm fixing of the stems or branches
at their base was obtained by means of slit
wooden holders placed crosswise in the mouth
| Of the vessel or in . bamboo tube hidden in the
vessel For water plants placed in wide, shall
low receptacles, fancy metal fixtures were often
| employed Ia such forms a. crabs, scissors.
horses bits, &C. Mr.. Gender was happily able
to illustrate the arrangements, which he de-
| scribed and explained BY means Of . series of
i n1afaa w fou,or,s ~ h.