The Adoration of the Flower for Its Own Sake Begins with the Rise of "Flower-Masters",
Toward the Middle of the Seventeenth Century
『 The adoration of the flower for its own sake begins with the rise of "Flower-Master," toward the middle of the seventeenth century.
It now becomes independent of the tea-room and knows no law save that the vase imposes on it.
New conceptions and methods of execution now become possible, and many were the principles and schools resulting therefrom.
A writer in the middle of the last century said he could count over one hundred different schhools of flower arrangement.
Brosdly speaking, these divided themselves into two main branches, the Formalistic and the Naturalesque.
The Formalistic schools, led by the Ikenobos, aimed at a classic idealism correspomding to that of the Kano-academicians.
We possess records of arrangements by the early masters of this school which almost reproduce the flower painting of Sansetsu and Tsunenobu.
The Naturalesque school, on the other hands, as its name implies, accepted nature as its model, only imposing such modificatins of form as conduced to the expression of artistic unity.
Thus we recognise in its works the same impulses which formed the Ukiyoe and Shijo schools of painting.』
(From the Book of Tea-Flowers, Chales E. Tuttle Co., Rutland, Vermont, Tokyo, Japan)
It is interesting to know that the principles of schools and/or parties of the Flower arrangements are closely relating to the principles of Japanese-paintings.
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Image Designer: Izumi Mori
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