Ikebana: The art of flower arrangement in Japan.
Citadels & Mazenod| N° d'inventaire | 30812 |
| Format | 22.5 x 34 |
| Détails | 136 p., numerous prints and color illustrations, Chinese binding. |
| Publication | Paris, 2024 |
| Etat | Nine |
| ISBN | 9782386110078 |
Flower arrangement, commonly known as Ikebana ("making flowers live"), has been recognized as an art in its own right for centuries in Japan—beginning in the Muromachi period, 1336–1573. Linked to various social uses, it has taken on multiple forms over time. The second half of the 16th century saw its full flowering. During the following century, it continued to flourish and spread thanks to the emergence of great masters and the development of methodically reasoned designs.
After having been the prerogative of the nobility, court and military, the Itikka movement (upright flowers) spread to the population and the bourgeoisie. It was at this time, in 1673, that the reproduction of a hundred floral arrangements composed at the Rokkakudo temple, mythical cradle of the Ikenobo masters, appeared in Kyoto. This magnificent collection of woodcuts, hand-colored using a specific watercolor technique, gansai, was compiled by Ikai Sanzaemon, disciple of Ikenobo Senkó II.
It unveils a tradition that has remained secret for two hundred years. Frédéric Girard traces the history and meaning of these compositions, where branches, flowers, and accessories express the union with nature and the beauty of a landscape extended to the cosmos, from earth to sky, including humans. He recalls the evolution of trends up to the present day, the constraints and creativity involved, and the connections with customs, aesthetics, poetry, philosophy, and even metaphysics.
And thus allows us to understand the Way of Flowers (kado) down to the roots that we attribute to it in religious practices including Buddhism.
Flower arrangement, commonly known as Ikebana ("making flowers live"), has been recognized as an art in its own right for centuries in Japan—beginning in the Muromachi period, 1336–1573. Linked to various social uses, it has taken on multiple forms over time. The second half of the 16th century saw its full flowering. During the following century, it continued to flourish and spread thanks to the emergence of great masters and the development of methodically reasoned designs.
After having been the prerogative of the nobility, court and military, the Itikka movement (upright flowers) spread to the population and the bourgeoisie. It was at this time, in 1673, that the reproduction of a hundred floral arrangements composed at the Rokkakudo temple, mythical cradle of the Ikenobo masters, appeared in Kyoto. This magnificent collection of woodcuts, hand-colored using a specific watercolor technique, gansai, was compiled by Ikai Sanzaemon, disciple of Ikenobo Senkó II.
It unveils a tradition that has remained secret for two hundred years. Frédéric Girard traces the history and meaning of these compositions, where branches, flowers, and accessories express the union with nature and the beauty of a landscape extended to the cosmos, from earth to sky, including humans. He recalls the evolution of trends up to the present day, the constraints and creativity involved, and the connections with customs, aesthetics, poetry, philosophy, and even metaphysics.
And thus allows us to understand the Way of Flowers (kado) down to the roots that we attribute to it in religious practices including Buddhism.