Evening star., 1902-02-21
FLORAL ART IN JAPAN.
Special Language and Treatment of
Every Variety of Blossom.

From Nature.
IF the art of the florist is highly honored
among us it is still more so in Japan. In
this latter country nothing is left to chance
in connection with the arrangement of flow
ers, everything being done according to
laws. Vases for flowers and bouquets differ
with the conditions of the evironment and
with circumstances. There are flowers
which must he used for this anniversary:
for that fete, others, on the contrary,
which are absolutely prohibited. Each Of
the st yles used in the floral art has a name.
The first and most ancient is called Shin
no-hana, which consists IN methodic COM
position of branches and varied leaves
around a central stem which is straight
and vertical. The Ril1kwa style differs only
in the fact that the central stem is always
curved and is never in the center. These
two simple and primitive styles have been
repla ced by others much more complicated
The Introduction Of a more modern art is
due 10 q celebrated philosopher, Senno-
Rikiu. who the creator of the real
floral schools. Each of them possesses GER
tain secret conditions, conserved with a
jealous care, and known alone by the
adopts
The vases are extremely variable in form
and character, and the matter which COM
poses them is equally different. Some are
of bronze, richly ornamented, others are de-
bamboo flower tubes. Further, all are used
in special circumstances, the formula being
| master and harmony being necessary be-
tween the flowers and the vases which hold
them. Thus for the Yugen-tei, which sym
bolZe sympathy and tranquility, one
should employ the iris in a vase of bamboo
with two compartments: for the Yu-shin-
tel characterzing affectionate attachment,
q vase of bronze called Suna-bachi, with a
branch of pine around which is twined a
bough of glycine: for the Tra-raka-tei
which represents serenity, vase of bronze
containing white chyrstanthemums, etc.
Severity demands the Eulalia japonica, an
ornamental plant cultivated in European
gardens. and the Patrinia scabiosaefolia,
arranged In a small bronze vase called No
zame. Security has for emblem an aquatic
| plant and veneration pine or other ever
green tree.
Each month has its flower and each cir
cumstance, happy or unhappy. Felicity is
expressed in February by the Ardisia
| japonica, etc. Thus it Is serious mistake
| to offer the wrong flower, and further GER
| tain combinations of flowers are permitted,
| but others are vigorously prohibited, and to
each plant is attached a symbolic signifca-
| tion. Special bouquets are made for birth
days. deaths, for the first day Of the eighth
month, on the occasion Of entering a re-
| ligious life. and for numerous ceremonies.
The place bouquet occupies in room is
also important. A bouquet has its proper
place before the Kakemono, or painting,
| which ornaments every well-furnished room
| OF a Japanese house. Between this paint
| ing and the bouquet there should exist a
| harmony based on conventions and tradi-
| tions. Thus, before every painting Of the
| famous artist To-em-mei, who loved
| chrysanthemums, one should always place
| a bouquet of chrysanthemums The man
| ner in which floral composition should be
| examined is also fixed. One should remain
| respectfully at a distance Of three feet.
Only after showing his admiration for the
painting may one express admiration for
| the bouquet. which 1t is impoIite to regard
| too attentively or too long. The first thing
| said should be OF the color Of the flowers,
| spoken simply and quietly in q soft voice,
J appreciation being expressed by different
| words suited to different tints