Ikenobo Ikebana 550th Anniversary Celebration, Tokyo, Japan

In the Azuchi-Momoyama (1568-1603) to early Edo Periods Rikka and its wider variant, Suna no Mono (aka Sunamono, literally "sand thing", a low, wide rikka with a base normally covered in white gravel to resemble sand) were practiced by the warrior class, adorning the tokonoma in their smaller sitting rooms.  In an extreme example of this period, the exhibition featured a large sunamono that recalled the "Maeda Mansion Daisunamono" of 1594 which was a more than 21 foot wide arrangement the 31st headmaster of Ikenobo had created to adorn the large sitting room in the Mansion of the Maeda Clan.  Behind this arrangement hung four scrolls painted with 20 monkeys cavorting.  The room-sized replica had 28 names listed as arranging the divided sunamono for the exhibition.  A lighter version of arranging known as Nageire, literally "thrown in", developed, leading to the development of Chabana or a simple more natural arrangement to accompany the Tea Ceremony.  The 32nd headmaster, Senko the 2nd, further developed the rikka style, several of which are highlighted on a commemorative set of stamps showing historical arrangements, several of which were also emulated for the exhibit.

In the middle part of the Edo Period (1603-1868) the Rikka form developed a refined elegance and the rules for Shoka were solidified and Ikenobo's reputation increased.  By early the 1800s Japanese culture centered around life in Edo, where flower stores provided easy access to seasonal flowers and the affluent town folk began to decorate their Tokonoma with Shoka.  In 1820 a scroll appeared showing 100 standard variations of the Shoka form.  Blown up portions of this scroll decorated the back wall of part of the exhibition highlighting this form.  By the late Edo period Ikenobo ikebana was spreading to all parts of Japan with instruction in Rikka and Shoka.  Women began taking up the study of ikebana, which had been a male dominated practice until this time.  In Kyoto alone there were 2000 Flower Associations for the study of ikebana.

The restoration of the Emperor and the Westernization of life in Japan caused great upheaval in ideas, life and culture in Meiji Era (1868-1912) Japan.  Ikenobo formalized the basic rules for Shoka Shofutai to have 3 elements known as Shin, Soe and Tai.  In 1897 Ikenobo began teaching Shoka Shofutai to women at the Kyoto Prefectural Women's College.  Until this time the opportunity had only been afforded to men, but this led to the popularization of learning ikebana as a refinement for women.  Meanwhile the rules for the use of tree materials increased, adding lots of detailed condition on the ideal ways to arrange them.  In contrast, the new freedom of thought and the response to a more natural view of the beauty of plant materials led to a desire for more freedom in ikebana.  By early Showa Period (1925-1989) Ikenobo had adapted the rules for Rikka and Shoka into Nageire and Moribana, known collectively as Ouyoubana or Adaptation Flowers. 

Ikebana continues to evolve with the changing lifestyles of today.  Many Japanese no longer have a Tokonoma in which to display a large arrangement, so they are often smaller and can be displayed more easily in the modern home.  Jiyuka, or modern free style developed after World War II.  In addition, the current headmaster has introduced several new styles (Shoka Shimputai in 1977 and Rikka Shimputai in 1999) blending traditional techniques with modern sense of beauty.  In addition, Ikenobo is spreading thoughout the world with 14 countries represented in the exhibition.

On 6 June, Ikenobo held 2 demonstrations in a large auditorium.  We attended the afternoon session in which members of the Ikenobo family and assistants created seasonal arrangements using lotus.  The image in the background is of the present Rokkakudo Temple.