Universidad Simón Bolívar. Departamento de Estudios Generales. Cultura y Civilización Japonesa. Sartenejas, 22 de junio de...
¿Qué es ikebana? <ul><li>Arte japonés del arreglo floral. </li></ul><ul><li>Palabra :  生け花  ó  いけばな , proviene de ikeru ( ...
<ul><li>Vivir en armonía. Camino de meditación con nuestro origen. </li></ul><ul><li>La naturaleza cambia, tiene su propio...
<ul><li>Mediados siglo VI (574 - 662): introducen Budismo.  </li></ul><ul><li>Ofrenda budista china de flores a Buda y a l...
<ul><li>Siglo XVI: chanoyu y  chabana . </li></ul><ul><li>Sendensho (1443-1536). </li></ul><ul><li>Hay más de 3000 escuela...
<ul><li>Las flores deben combinarse naturalmente. </li></ul><ul><li>No usar más de tres flores diferentes. </li></ul><ul><...
<ul><li>Actitud antes de comenzar el arreglo (camino de la flor): </li></ul><ul><li>- Revisar el estado mental e intentar ...
<ul><li>Rikka (flores de pie) </li></ul>Estilos <ul><li>También llamado  tatebana. </li></ul><ul><li>Rama principal-cielo ...
Estilos <ul><li>Chabana (flores de té) </li></ul><ul><li>Nageire (tirarlo dentro) </li></ul><ul><li>Patrón: una estructura...
<ul><li>Bunjin-bana (arreglos intelectuales) </li></ul>Estilos <ul><li>Seika ó Shoka (flores vivas) </li></ul><ul><li>Perf...
Estilos <ul><li>Moribana (flores apiladas) </li></ul><ul><li>Usado por el creador de la escuela Ohara, Ohara Unshin. </li>...
Estilos <ul><li>Sogetsu (la alegría de la creación): </li></ul><ul><li>Establecido por Sofu Teshigahara (1900-1979) en 192...
Ans Vaatstra-Heida Parque Golden Gate, 2009
<ul><li>Kenzan o picaflor </li></ul><ul><li>Suiban </li></ul><ul><li>Hasami </li></ul><ul><li>Shippo (Hierro circular con ...
<ul><li>Pino - eternidad - Año Nuevo. </li></ul><ul><li>Bambú - flexibilidad de la juventud - Tanabata. </li></ul><ul><li>...
El tiempo y la estación <ul><li>El paso del tiempo. </li></ul><ul><li>Sugerir en alguna forma el tiempo y la estación, y e...
Técnicas Para mantener la frescura de las plantas: - Aplastar, cocer o quemar la base de los tallos, y aplicar varios prod...
Técnicas Para mantener los elementos en su puesto: - Moribana, Shoka:  el kenzan. - Rikka, Chabana, Nageire, Bunjin-bana: ...
Técnicas Para curvar las ramas: -  Oshi-dame y teori-dame  (doblar con los pulgares) . -  Kiri-dame  (cortar y doblar). - ...
 
Bonsai (Naturaleza en bandeja)
HISTORIA Los bonsai son originarios de China, donde se le conocia como  penjin.  Durante la  dinastía Tang,  Japón envio  ...
Durante las invasiones Mongolas hacia China cerca de 1234, varios artistas e intelectuales viajaron a Japón donde obtenian...
FILOSOFIA La filosofia asociada a los bonsai inicia con los sacerdotes Zen que viajaron durante el siglo VIII a Japón. El ...
Simplicidad:  El conocimiento y pensamiento se expresa mejor en terminos simples, y en la naturaleza, los arboles mas herm...
Asimetria:  La harmonia del espacio que se consigue con la forma asimetrica e imperfecta. Sublimidad Austera:  El bonsai s...
Libertad de ataduras:  El bonsai mantiene los principios de romper las convenciones y formulas establecidas. Profundidad s...
Principales estilos de bonsai. Vertical  formal
Vertical informal Inclinado
Cascada
Crear un bonsai. 1. Escoger el tipo de mata Puede ser cualquier tipo de mata, aunque unas matas le queda mejor. Debes limp...
3. Alambrar el bonsai. Se utilizan alambres para amarrar el bonsai a una posición deseada y asi obtener el estilo que se q...
4. Transplantar el bonsai. Una vez que se escoja la bandeja deseada se procede a poner el bonsai en la misma, despues rell...
Gracias!!! Mukimono. Arte japonés de tallar vegetales y frutas.
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Ikebana bonsai (Ana Karina, Pablo, Luis)

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  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo , the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho , a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo Schoo l, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo , the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho , a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo Schoo l, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo , the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho , a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo Schoo l, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo , the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho , a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo Schoo l, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. Escuela Shoka. Se trata de un perfeccionamiento del estilo Rikka llevado a cabo por el maestro Senjo Ikenobo. Sus construcciones son de tres ramas y mayoritariamente con forma triangular. Representan el cielo, el hombre y la tierra, que son las tres partes en las que dividen el universo. Dicho estilo se caracteriza por el orden, presentando los elementos de sus composiciones de una manera natural, tal y como se manifiestan cuando están en libertad. La composiciones eran mucho más sencillas que las del estilo Rikka.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. Escuela Shoka. Se trata de un perfeccionamiento del estilo Rikka llevado a cabo por el maestro Senjo Ikenobo. Sus construcciones son de tres ramas y mayoritariamente con forma triangular. Representan el cielo, el hombre y la tierra, que son las tres partes en las que dividen el universo. Dicho estilo se caracteriza por el orden, presentando los elementos de sus composiciones de una manera natural, tal y como se manifiestan cuando están en libertad. La composiciones eran mucho más sencillas que las del estilo Rikka.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. Escuela Shoka. Se trata de un perfeccionamiento del estilo Rikka llevado a cabo por el maestro Senjo Ikenobo. Sus construcciones son de tres ramas y mayoritariamente con forma triangular. Representan el cielo, el hombre y la tierra, que son las tres partes en las que dividen el universo. Dicho estilo se caracteriza por el orden, presentando los elementos de sus composiciones de una manera natural, tal y como se manifiestan cuando están en libertad. La composiciones eran mucho más sencillas que las del estilo Rikka.
  • Innovative ikebana artist Ans Vaatstra-Heida will take an especially abstract approach to ikebana floral design using self-made structures and unconventional materials such as glass, metal, and plastic on Friday, May 15. This one-hour program on the Japanese art of flower arranging, sponsored by the local chapter of Ikebana International, begins at 12 p.m. in the County Fair Building at 9th Avenue and Lincoln Way in San Francisco’s Golden Gate Park. It is open to the general public; there is a $5 fee for non-members. Finished arrangements by various ikebana artists will also be on display. Vaatstra-Heida, a native of the Netherlands, began studying Sogetsu ikebana while living in Singapore. She continued her studies on both coasts of the U.S., becoming known for her keen sense of design and clean, dynamic line and structure in her ikebana arrangements. She delights in providing inspiration to others, especially children. Ample parking is available in the new de Young Museum parking garage, within easy walking distance from the County Fair Building. Limited street parking is available within the park. For more information, visit www.ikebana.org or phone (415) 566-2976. Headquartered in Tokyo, Ikebana International is a worldwide non-profit cultural organization that has more than 160 chapters in nearly 60 countries.*************************************************************************** Bringing her sophisticated, cosmopolitan talent to the stage, Ans Vaatstra-Heida presents the chapter&apos;s last program of the season. She is known for her keen sense of design and clean, dynamic line and structure in her ikebana. Ans often uses containers and structures she has made. Her work is distinguished by self-made structures, painted materials, and unconventional materials such as glass, metals and plastic. Ans&apos; ikebana reflects an appreciation and understanding of many cultures. She is deeply influenced by years of residence in other countries where she lived due to her husband&apos;s work. She maintained her love of artistic expression and always found ikebana teachers with whom to continue her study. She values this wide exposure to the art of different cultures. She is a native of the Netherlands and first &amp;quot;discovered&amp;quot; Sogetsu ikebana while living in Singapore. She moved to Boston in 2003 and in 2006 to the Bay Area where she is a student of the inspiring Sogetsu teacher Soho Sakai. “ What is SOGETSU”---Sogetsu Ikebana - The Joy of Creation In 1927, when everybody believed practicing ikebana meant following established forms, Sofu Teshigahara recognized ikebana as a creative art and founded the Sogetsu School. Anyone can enjoy Sogetsu Ikebana anytime, anywhere, using any material. You can place Sogetsu Ikebana at your door, in you living room or on your kitchen table. Sogetsu Ikebana enhances any hotel lobby or banquet room, shop windows and huge public spaces. It will suit any kind of space, Japanese or Western and enrich its atmosphere.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. CONTENEDORES ---Un contenedor puede ser seleccionado para un arreglo particular después de que el arreglista examina la naturaleza de los materiales disponibles de flores y ramas. Por otra parte, un contenedor puede inspirar a la selección de los materiales que serán incluidos en el régimen. El tamaño del recipiente debe ser adecuado para el espacio donde se va a colocar, y los materiales deben ser cortados en proporción al tamaño del recipiente. CESTA DE BAMBÚ ---La estacionalidad es la principal consideración en la elección de los materiales florales y sus envases cesta. cestas de bambú son de mayor uso durante los meses cálidos, a partir de abril o mayo a las cestas de bambú October.Light color o blanqueados se utilizan en la primavera y el verano, por lo general con pastel o materiales florales en tonos de luz. cestas oscuros son para el otoño y los arreglos de invierno, que a menudo incluyen frutas del bosque y los viñedos. Las plantas y las flores dispuestas en cestas comúnmente incluyen hierbas, especialmente los que se encuentran normalmente crecen en terreno montañoso. Las plantas acuáticas no se utilizan nunca, y las flores tropicales son muy difíciles de usar con los titulares de canasta ya que carecen de estacionalidad. El régimen debe mantenerse suave y suelto, con el fin de acentuar las cualidades delicadas de la cesta. Cuando se utiliza una cesta de bambú, no se puede utilizar akenzan, sino que debe utilizar un soporte de flores a mano de moda. CONTENEDORES DE VIDRIO ---Si bien los recipientes de cerámica absorben la luz, envases de vidrio refleja - o refractan - ella. Su brillo y colores vivos, no puede ser duplicado en la cerámica. La mayoría de los arreglistas IKEBANA utilizar recipientes de cristal transparente. Al utilizar recipientes transparentes, recuerde que los actos de vidrio como una lente y magnifica lo iscontained inside.Therefore, es mejor no usar akenzan, o si usa una, y cúbralo con bambú o piedras. También puede mantener los materiales florales en el lugar con hilos de color o de la vid, o doblar las ramas para sostener contra la pared de los mármoles container.Different de tamaño también puede contener materiales florales. Con los envases de vidrio transparente, la cantidad de agua a utilizar es alsoimportant. El arreglo debe ser pensado como un conjunto de threeparts: la zona bajo el agua, la zona comprendida entre la línea de flotación y la parte superior de la containerand el espacio fuera de la parte superior del contenedor.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. CONTENEDORES ---Un contenedor puede ser seleccionado para un arreglo particular después de que el arreglista examina la naturaleza de los materiales disponibles de flores y ramas. Por otra parte, un contenedor puede inspirar a la selección de los materiales que serán incluidos en el régimen. El tamaño del recipiente debe ser adecuado para el espacio donde se va a colocar, y los materiales deben ser cortados en proporción al tamaño del recipiente. CESTA DE BAMBÚ ---La estacionalidad es la principal consideración en la elección de los materiales florales y sus envases cesta. cestas de bambú son de mayor uso durante los meses cálidos, a partir de abril o mayo a las cestas de bambú October.Light color o blanqueados se utilizan en la primavera y el verano, por lo general con pastel o materiales florales en tonos de luz. cestas oscuros son para el otoño y los arreglos de invierno, que a menudo incluyen frutas del bosque y los viñedos. Las plantas y las flores dispuestas en cestas comúnmente incluyen hierbas, especialmente los que se encuentran normalmente crecen en terreno montañoso. Las plantas acuáticas no se utilizan nunca, y las flores tropicales son muy difíciles de usar con los titulares de canasta ya que carecen de estacionalidad. El régimen debe mantenerse suave y suelto, con el fin de acentuar las cualidades delicadas de la cesta. Cuando se utiliza una cesta de bambú, no se puede utilizar akenzan, sino que debe utilizar un soporte de flores a mano de moda. CONTENEDORES DE VIDRIO ---Si bien los recipientes de cerámica absorben la luz, envases de vidrio refleja - o refractan - ella. Su brillo y colores vivos, no puede ser duplicado en la cerámica. La mayoría de los arreglistas IKEBANA utilizar recipientes de cristal transparente. Al utilizar recipientes transparentes, recuerde que los actos de vidrio como una lente y magnifica lo iscontained inside.Therefore, es mejor no usar akenzan, o si usa una, y cúbralo con bambú o piedras. También puede mantener los materiales florales en el lugar con hilos de color o de la vid, o doblar las ramas para sostener contra la pared de los mármoles container.Different de tamaño también puede contener materiales florales. Con los envases de vidrio transparente, la cantidad de agua a utilizar es alsoimportant. El arreglo debe ser pensado como un conjunto de threeparts: la zona bajo el agua, la zona comprendida entre la línea de flotación y la parte superior de la containerand el espacio fuera de la parte superior del contenedor.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. CONTENEDORES ---Un contenedor puede ser seleccionado para un arreglo particular después de que el arreglista examina la naturaleza de los materiales disponibles de flores y ramas. Por otra parte, un contenedor puede inspirar a la selección de los materiales que serán incluidos en el régimen. El tamaño del recipiente debe ser adecuado para el espacio donde se va a colocar, y los materiales deben ser cortados en proporción al tamaño del recipiente. CESTA DE BAMBÚ ---La estacionalidad es la principal consideración en la elección de los materiales florales y sus envases cesta. cestas de bambú son de mayor uso durante los meses cálidos, a partir de abril o mayo a las cestas de bambú October.Light color o blanqueados se utilizan en la primavera y el verano, por lo general con pastel o materiales florales en tonos de luz. cestas oscuros son para el otoño y los arreglos de invierno, que a menudo incluyen frutas del bosque y los viñedos. Las plantas y las flores dispuestas en cestas comúnmente incluyen hierbas, especialmente los que se encuentran normalmente crecen en terreno montañoso. Las plantas acuáticas no se utilizan nunca, y las flores tropicales son muy difíciles de usar con los titulares de canasta ya que carecen de estacionalidad. El régimen debe mantenerse suave y suelto, con el fin de acentuar las cualidades delicadas de la cesta. Cuando se utiliza una cesta de bambú, no se puede utilizar akenzan, sino que debe utilizar un soporte de flores a mano de moda. CONTENEDORES DE VIDRIO ---Si bien los recipientes de cerámica absorben la luz, envases de vidrio refleja - o refractan - ella. Su brillo y colores vivos, no puede ser duplicado en la cerámica. La mayoría de los arreglistas IKEBANA utilizar recipientes de cristal transparente. Al utilizar recipientes transparentes, recuerde que los actos de vidrio como una lente y magnifica lo iscontained inside.Therefore, es mejor no usar akenzan, o si usa una, y cúbralo con bambú o piedras. También puede mantener los materiales florales en el lugar con hilos de color o de la vid, o doblar las ramas para sostener contra la pared de los mármoles container.Different de tamaño también puede contener materiales florales. Con los envases de vidrio transparente, la cantidad de agua a utilizar es alsoimportant. El arreglo debe ser pensado como un conjunto de threeparts: la zona bajo el agua, la zona comprendida entre la línea de flotación y la parte superior de la containerand el espacio fuera de la parte superior del contenedor.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. CONTENEDORES ---Un contenedor puede ser seleccionado para un arreglo particular después de que el arreglista examina la naturaleza de los materiales disponibles de flores y ramas. Por otra parte, un contenedor puede inspirar a la selección de los materiales que serán incluidos en el régimen. El tamaño del recipiente debe ser adecuado para el espacio donde se va a colocar, y los materiales deben ser cortados en proporción al tamaño del recipiente. CESTA DE BAMBÚ ---La estacionalidad es la principal consideración en la elección de los materiales florales y sus envases cesta. cestas de bambú son de mayor uso durante los meses cálidos, a partir de abril o mayo a las cestas de bambú October.Light color o blanqueados se utilizan en la primavera y el verano, por lo general con pastel o materiales florales en tonos de luz. cestas oscuros son para el otoño y los arreglos de invierno, que a menudo incluyen frutas del bosque y los viñedos. Las plantas y las flores dispuestas en cestas comúnmente incluyen hierbas, especialmente los que se encuentran normalmente crecen en terreno montañoso. Las plantas acuáticas no se utilizan nunca, y las flores tropicales son muy difíciles de usar con los titulares de canasta ya que carecen de estacionalidad. El régimen debe mantenerse suave y suelto, con el fin de acentuar las cualidades delicadas de la cesta. Cuando se utiliza una cesta de bambú, no se puede utilizar akenzan, sino que debe utilizar un soporte de flores a mano de moda. CONTENEDORES DE VIDRIO ---Si bien los recipientes de cerámica absorben la luz, envases de vidrio refleja - o refractan - ella. Su brillo y colores vivos, no puede ser duplicado en la cerámica. La mayoría de los arreglistas IKEBANA utilizar recipientes de cristal transparente. Al utilizar recipientes transparentes, recuerde que los actos de vidrio como una lente y magnifica lo iscontained inside.Therefore, es mejor no usar akenzan, o si usa una, y cúbralo con bambú o piedras. También puede mantener los materiales florales en el lugar con hilos de color o de la vid, o doblar las ramas para sostener contra la pared de los mármoles container.Different de tamaño también puede contener materiales florales. Con los envases de vidrio transparente, la cantidad de agua a utilizar es alsoimportant. El arreglo debe ser pensado como un conjunto de threeparts: la zona bajo el agua, la zona comprendida entre la línea de flotación y la parte superior de la containerand el espacio fuera de la parte superior del contenedor.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. CONTENEDORES ---Un contenedor puede ser seleccionado para un arreglo particular después de que el arreglista examina la naturaleza de los materiales disponibles de flores y ramas. Por otra parte, un contenedor puede inspirar a la selección de los materiales que serán incluidos en el régimen. El tamaño del recipiente debe ser adecuado para el espacio donde se va a colocar, y los materiales deben ser cortados en proporción al tamaño del recipiente. CESTA DE BAMBÚ ---La estacionalidad es la principal consideración en la elección de los materiales florales y sus envases cesta. cestas de bambú son de mayor uso durante los meses cálidos, a partir de abril o mayo a las cestas de bambú October.Light color o blanqueados se utilizan en la primavera y el verano, por lo general con pastel o materiales florales en tonos de luz. cestas oscuros son para el otoño y los arreglos de invierno, que a menudo incluyen frutas del bosque y los viñedos. Las plantas y las flores dispuestas en cestas comúnmente incluyen hierbas, especialmente los que se encuentran normalmente crecen en terreno montañoso. Las plantas acuáticas no se utilizan nunca, y las flores tropicales son muy difíciles de usar con los titulares de canasta ya que carecen de estacionalidad. El régimen debe mantenerse suave y suelto, con el fin de acentuar las cualidades delicadas de la cesta. Cuando se utiliza una cesta de bambú, no se puede utilizar akenzan, sino que debe utilizar un soporte de flores a mano de moda. CONTENEDORES DE VIDRIO ---Si bien los recipientes de cerámica absorben la luz, envases de vidrio refleja - o refractan - ella. Su brillo y colores vivos, no puede ser duplicado en la cerámica. La mayoría de los arreglistas IKEBANA utilizar recipientes de cristal transparente. Al utilizar recipientes transparentes, recuerde que los actos de vidrio como una lente y magnifica lo iscontained inside.Therefore, es mejor no usar akenzan, o si usa una, y cúbralo con bambú o piedras. También puede mantener los materiales florales en el lugar con hilos de color o de la vid, o doblar las ramas para sostener contra la pared de los mármoles container.Different de tamaño también puede contener materiales florales. Con los envases de vidrio transparente, la cantidad de agua a utilizar es alsoimportant. El arreglo debe ser pensado como un conjunto de threeparts: la zona bajo el agua, la zona comprendida entre la línea de flotación y la parte superior de la containerand el espacio fuera de la parte superior del contenedor.
  • IKEBANA, one of the traditional arts of Japan, has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. By the middle of the fifteenth century, with the emergence of the first classical styles, IKEBANA achieved the status of an art form independent of its religious origins, though it continued to retain strong symbolic and philosophical overtones. The first teachers and students were priests and members of the nobility. However, as time passed, many different schools arose, styles changed, and IKEBANA came to be practiced at all levels of Japanese society. When Buddhism Arrived In Japan The beginning of IKEBANA can be traced to the 6th century introduction of Buddhism to the Japanese. Part of the worship involved the offering of flowers on the altar in honor of Buddha. In India, the birthplace of Buddhism, the flowers were placed very informally, and sometimes only petals were strewn around. However, by the time of 10th century Japan, the Japanese were presenting their offering in containers. The altar offerings were the responsibility of the priests of the temple. The Origin of IKEBANA: Ikenobo The oldest school of IKEBANA dates its beginnings from a priest of the Rokkakudo Temple in Kyoto who was so expert in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements. Evolution of Styles Patterns and styles evolved so that by the late 15th century, arrangements were common enough that they were appreciated by ordinary people, not just the imperial family and its retainers. Thus began the development of an art form with fixed requirements. Texts were written, the oldest being Sendensho, a compilation covering the years from 1443 to 1536. As time passed, IKEBANA became a major part of traditional festivals, and IKEBANA exhibitions were held periodically. Rules were prescribed, and materials had to be combined in specific ways. In these early forms, a tall upright central stem had to be accompanied by two shorter stems; the three stems represented heaven, man (sic), and earth. The specific Japanese names for these differed among IKEBANA schools. In 1545, the Ikenobo School, now well established, formulated the principles of rikka arrangements by naming the seven principal branches used in that type of arrangement. During the Momoyama period in Japan, 1560-1600, many magnificent castles were constructed. During the same period, noblemen and royal retainers were doing large decorative rikka floral pieces . The rikka style was considered a most appropriate decoration for these castles. CONTENEDORES ---Un contenedor puede ser seleccionado para un arreglo particular después de que el arreglista examina la naturaleza de los materiales disponibles de flores y ramas. Por otra parte, un contenedor puede inspirar a la selección de los materiales que serán incluidos en el régimen. El tamaño del recipiente debe ser adecuado para el espacio donde se va a colocar, y los materiales deben ser cortados en proporción al tamaño del recipiente. CESTA DE BAMBÚ ---La estacionalidad es la principal consideración en la elección de los materiales florales y sus envases cesta. cestas de bambú son de mayor uso durante los meses cálidos, a partir de abril o mayo a las cestas de bambú October.Light color o blanqueados se utilizan en la primavera y el verano, por lo general con pastel o materiales florales en tonos de luz. cestas oscuros son para el otoño y los arreglos de invierno, que a menudo incluyen frutas del bosque y los viñedos. Las plantas y las flores dispuestas en cestas comúnmente incluyen hierbas, especialmente los que se encuentran normalmente crecen en terreno montañoso. Las plantas acuáticas no se utilizan nunca, y las flores tropicales son muy difíciles de usar con los titulares de canasta ya que carecen de estacionalidad. El régimen debe mantenerse suave y suelto, con el fin de acentuar las cualidades delicadas de la cesta. Cuando se utiliza una cesta de bambú, no se puede utilizar akenzan, sino que debe utilizar un soporte de flores a mano de moda. CONTENEDORES DE VIDRIO ---Si bien los recipientes de cerámica absorben la luz, envases de vidrio refleja - o refractan - ella. Su brillo y colores vivos, no puede ser duplicado en la cerámica. La mayoría de los arreglistas IKEBANA utilizar recipientes de cristal transparente. Al utilizar recipientes transparentes, recuerde que los actos de vidrio como una lente y magnifica lo iscontained inside.Therefore, es mejor no usar akenzan, o si usa una, y cúbralo con bambú o piedras. También puede mantener los materiales florales en el lugar con hilos de color o de la vid, o doblar las ramas para sostener contra la pared de los mármoles container.Different de tamaño también puede contener materiales florales. Con los envases de vidrio transparente, la cantidad de agua a utilizar es alsoimportant. El arreglo debe ser pensado como un conjunto de threeparts: la zona bajo el agua, la zona comprendida entre la línea de flotación y la parte superior de la containerand el espacio fuera de la parte superior del contenedor.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • The Momoyama style was, in general, notable for its excessive decor. At this same time, however, the tea ceremony made its appearance. The tea ceremony&apos;s emphasis on rustic simplicity -- with acorresponding style of IKEBANA, designed for the tea ceremony room and called chabana -- contrasted sharply with Momoyama excesses. By 1600, the religious significance of IKEBANA had diminished, and the resulting floral arrangements gradually became a decorative lay art. In the Edo period (from the early 17th to the mid-nineteenth centuries), the simplicity of the chabana helped create the nageire or &amp;quot;thrown-in&amp;quot; style. It was this non-structured design which led to the development of the seika or shoka style, as it is called in the Ikenobo school. This style is characterized by a tight bundle of stems which form a triangular three-branched asymmetrical structure. The form is now considered classic, and schools that teach it are called the &amp;quot;classical schools&amp;quot;. Starting in the late 19th century, merchant princes had increasing influence in society. Up until that time, the practice of IKEBANA had been only for men, but now women were taking lessons as well. The Number of Schools Expands-----At this time also, new schools began to appear. Each had its individual interpretation of seika. The first school of IKEBANA, Ikenobo, pointed the base of the stems directly down, using a komi or forked stick to hold them in place. The Koryu School placed the komi at an angle; the ends of the stems were cut at a slant and propped against the side of the vessel. The Enshu School exaggerated the curves of the branches by cutting slits in them, bending them, and inserting triangular plugs into the slits so that the branches held the desired curve. The turn of the 20th century presented a revolution in IKEBANA styles. IKEBANA was by then a popular pastime, almost a requisite for the genteel Japanese woman. Mr. Unshin Ohara, an Ikenobo professor in Kobe, invented a form of IKEBANA done in a low bowl using some of the shorter stemmed western flowers that had been introduced at the beginning of the Meiji era. He asked the Ikenobo school to include this design in their curriculum. The school refused, but he was so highly regarded that they did give him permission to teach his new form in his own school -- if he could get pupils. It seems clear that they doubted that he could. However, his exhibition in a department store in Kobe was an immediate success, and the Ohara School was on its way. Ohara called his new form MORIBANA, meaning &amp;quot;piled-up&amp;quot;, in the sense that it was not like the upright seika style. The MORIBANA style became so popular that already by 1915, most of the IKEBANA schools had incorporated it into their own curriculum; it still remains popular today. Other Modern Schools Other IKEBANA schools arose. Koshu Tsujii, a follower of the new MORIBANA, was invited to re-establish a flower school in the Daikakuji Temple in Saga, which still today operates his school as the Saga School. Besides IKEBANA, the Saga School teaches other Japanese arts such as calligraphy. Choka Adachi initiated an &amp;quot;Adachi Style&amp;quot;, using the using the MORIBANA form &amp;quot;to arrange flowers like flowers&amp;quot;. At about the same time, another style which translates as the &amp;quot;literati style&amp;quot; began to attract interest because of its free and colorful approach. Originated by Issotei Nishikawa, it led the way to free creative arrangements. The chief exponent of this free style was Sofu Teshigahara, who founded the Sogetsu School in 1926. Others in this modern movement -- which resulted in IKEBANA being placed elsewhere than only in the tokonoma -- included the founder of the Ichiyo School. The three schools that predominate at the present time are Ikenobo, Ohara, and Sogetsu, but more than two thousand different schools of IKEBANA are registered with the Japanese Ministry of Education.
  • Ikebana bonsai (Ana Karina, Pablo, Luis)

    1. 1. Universidad Simón Bolívar. Departamento de Estudios Generales. Cultura y Civilización Japonesa. Sartenejas, 22 de junio de 2010 Integrantes: Ana Karina D'Ambrosio Pablo Aponte Luis Teran Profesor: Shunichi Watanabe ( 渡辺俊一 ) IKEBANA ( 生け花 ) Y BONSAI ( 盆栽 )
    2. 2. ¿Qué es ikebana? <ul><li>Arte japonés del arreglo floral. </li></ul><ul><li>Palabra : 生け花 ó いけばな , proviene de ikeru ( 生ける , colocar) y bana (sonoración de hana - 花 , flor-). </li></ul><ul><li>Kadō ( 華道 o 花道 ), &quot;el camino de las flores”. </li></ul><ul><li>En el se reune la naturaleza y la humanidad. </li></ul><ul><li>Filosofía: “acercarse a la naturaleza” armonizando las leyes de la naturaleza con la humanidad. </li></ul><ul><li>Expresión creativa con reglas de construcción. </li></ul><ul><li>Elevado arte debido al amor casi religioso por la naturaleza. </li></ul><ul><li>. </li></ul>
    3. 3. <ul><li>Vivir en armonía. Camino de meditación con nuestro origen. </li></ul><ul><li>La naturaleza cambia, tiene su propio ritmo y orden. </li></ul><ul><li>Intenta crear un vínculo entre el interior y el aire libre. </li></ul><ul><li>Vivir silenciosamente “en el momento”. </li></ul><ul><li>Se usa material vegetal. Hoy: metal, cristal y plástico. </li></ul><ul><li>Crea bellezas que no se encontran en la naturaleza. </li></ul><ul><li>Tres líneas básicas (ramas-símbolo) forman el universo: cielo-tierra-hombre. </li></ul><ul><li>Para combatir el estrés. </li></ul><ul><li>Desarrolla paciencia y tolerancia. </li></ul><ul><li>Hombres y mujeres. </li></ul>
    4. 4. <ul><li>Mediados siglo VI (574 - 662): introducen Budismo. </li></ul><ul><li>Ofrenda budista china de flores a Buda y a los muertos. </li></ul><ul><li>Evolución siglo XV: se separa. </li></ul><ul><li>Practicado por más de 600 años. </li></ul><ul><li>Monjes nobles y sacerdotes pueblo </li></ul><ul><li>Escuela más antigua: </li></ul><ul><li>- Siglo XV. </li></ul><ul><li>- Monje Ikenobo Senno. </li></ul><ul><li>- Templo Rokkakudo (principe Shotoku), Kyoto. </li></ul><ul><li>- 45 generación, Ikenobo Sen'ei. </li></ul><ul><li>Tres tallos: ten-chi-jin. </li></ul><ul><li>Triángulo escaleno. </li></ul>Historia Conan el chihuahua y el monje Joei Yoshkini
    5. 5. <ul><li>Siglo XVI: chanoyu y chabana . </li></ul><ul><li>Sendensho (1443-1536). </li></ul><ul><li>Hay más de 3000 escuelas en Japón. </li></ul><ul><li>Escuelas: </li></ul><ul><li>-Ikenobo: “La choza del monje junto al lago” </li></ul><ul><li>“ El origen del Ikebana” </li></ul><ul><li>-Ohara (S. XX; estilo moribana) </li></ul><ul><li>-Sogetsu (Zen' ei ó libre composición) </li></ul>Historia
    6. 6. <ul><li>Las flores deben combinarse naturalmente. </li></ul><ul><li>No usar más de tres flores diferentes. </li></ul><ul><li>Observar el lugar en que se colocará el arreglo. </li></ul><ul><li>El recipiente es muy importante. </li></ul><ul><li>Área de trabajo limpia y ordenada, de paz y tranquilidad. </li></ul><ul><li>Los elementos se colocan de acuerdo con reglas de ángulo y medida. </li></ul><ul><li>La libertad-Sofu Teshigahara: aprendidas las reglas, se tiene libertad para crear. </li></ul><ul><li>Simplicidad y asimetría. </li></ul><ul><li>Belleza oculta. </li></ul><ul><li>No se producen dos trabajos iguales (circunstancias cambian). </li></ul><ul><li>Las flores serán colocadas de la forma que ellas quieran. </li></ul><ul><li>El arreglo debe exaltar al máximo la belleza de las flores y transformar los alrededores (mantener el espíritu de la flor). </li></ul><ul><li>Las líneas expresan sentimientos. </li></ul><ul><li>Líneas rectas (♂ y fuerza) y curvas (♀ y belleza). </li></ul><ul><li>Debe tener tres partes: material fuera del recipiente, área cubierta por el agua, y el espacio entre el borde del agua y la boca del recipiente. </li></ul>Reglas básicas
    7. 7. <ul><li>Actitud antes de comenzar el arreglo (camino de la flor): </li></ul><ul><li>- Revisar el estado mental e intentar tenerlo en calma. </li></ul><ul><li>- Concentrado y centrado, en el aquí y ahora. </li></ul><ul><li>- Armonía entre el cuerpo y el alma. </li></ul><ul><li>- Desarrollar la sutileza del espíritu: conexión entre el hombre y la naturaleza, desarrollando el amor a las flores. </li></ul><ul><li>- Trabajar con el hana-no-kokoro. </li></ul><ul><li>- Estar relajado y despreocupado como una flor de campo. </li></ul><ul><li>- Trabajar desinteresadamente y con humildad. </li></ul><ul><li>- Ser agradecidos de poder trabajar con las flores, que son estrellas en la tierra. </li></ul><ul><li>La selección de los materiales es más importante que la técnica. </li></ul>Reglas básicas
    8. 8. <ul><li>Rikka (flores de pie) </li></ul>Estilos <ul><li>También llamado tatebana. </li></ul><ul><li>Rama principal-cielo o verdad </li></ul><ul><li>Dobla izquierda o derecha </li></ul><ul><li>Esfera imaginaria </li></ul>En un principio era una creación de siete ramas, cada una representaba una parte del Monte Meru (Cosmología budista). Con el tiempo pasaron a ser nueve o incluso once ramas. Cielo Hombre Tierra
    9. 9. Estilos <ul><li>Chabana (flores de té) </li></ul><ul><li>Nageire (tirarlo dentro) </li></ul><ul><li>Patrón: una estructura triangular y una armonía cromática. </li></ul><ul><li>Una forma típica: una rama larga y a partir de ella unas flores situadas en la base. </li></ul><ul><li>Proviene del estilo Chabana, Rikka. </li></ul><ul><li>Se refiere a lujosas creaciones que tuvieron cierta fama durante el s. XVII. </li></ul><ul><li>Usa recipientes altos. </li></ul><ul><li>Una o dos flores o ramas en un recipiente alto. </li></ul><ul><li>A veces, sólo una flor o una hoja. </li></ul>
    10. 10. <ul><li>Bunjin-bana (arreglos intelectuales) </li></ul>Estilos <ul><li>Seika ó Shoka (flores vivas) </li></ul><ul><li>Perfeccionamiento del estilo Rikka llevado a cabo por el maestro Senjo Ikenobo. </li></ul><ul><li>Contrucción de tres ramas y mayoritariamente con forma triangular. </li></ul><ul><li>Representan el cielo, el hombre y la tierra, que son las tres partes en las que dividen el universo. </li></ul><ul><li>Se caracteriza por el orden. </li></ul><ul><li>Presenta los elementos de sus composiciones de una manera natural, </li></ul><ul><li>La composiciones eran mucho más sencillas que las del estilo Rikka. </li></ul><ul><li>Senchabana (flores de té hervido). </li></ul><ul><li>“ Flores de los literatos”. </li></ul><ul><li>Estilo libre y elegante. </li></ul><ul><li>Introducida por la dinastía Ming en el período Edo. </li></ul>
    11. 11. Estilos <ul><li>Moribana (flores apiladas) </li></ul><ul><li>Usado por el creador de la escuela Ohara, Ohara Unshin. </li></ul><ul><li>Rompe con las características de los estilos más antiguos: usa flores que eran importadas. </li></ul><ul><li>Estructura triangular clásica, pero dándole un plano tridimensional. </li></ul><ul><li>Usa recipientes bajos. </li></ul>
    12. 12. Estilos <ul><li>Sogetsu (la alegría de la creación): </li></ul><ul><li>Establecido por Sofu Teshigahara (1900-1979) en 1927. </li></ul><ul><li>El arte debe ser creativo y agradable. </li></ul><ul><li>Se usa tosa clase de materiales. </li></ul>
    13. 13. Ans Vaatstra-Heida Parque Golden Gate, 2009
    14. 14. <ul><li>Kenzan o picaflor </li></ul><ul><li>Suiban </li></ul><ul><li>Hasami </li></ul><ul><li>Shippo (Hierro circular con huecos) </li></ul>Equipo
    15. 15. <ul><li>Pino - eternidad - Año Nuevo. </li></ul><ul><li>Bambú - flexibilidad de la juventud - Tanabata. </li></ul><ul><li>Ramas de albaricoque en flor – serrenidad de la madurez. </li></ul><ul><li>Ramas de melocotonero en flor – Fiesta de las muñecas (Hina Matsuri). </li></ul><ul><li>Irises japoneses – masculinidad – Día de los Niños. </li></ul><ul><li>La cortadera, típica del otoño - observación de la luna de setiembre ( tsukimi ). </li></ul>Materiales
    16. 16. El tiempo y la estación <ul><li>El paso del tiempo. </li></ul><ul><li>Sugerir en alguna forma el tiempo y la estación, y el continuo desarrollo de los elementos vegetales utilizados. </li></ul><ul><li>Por ejemplo: </li></ul><ul><li>Materiales empleados: </li></ul><ul><li>- El pasado: capullos abiertos, vainas vegetales y hojas secas </li></ul><ul><li>- El presente: capullos semi-abiertos u hojas lozanas </li></ul><ul><li>- El futuro: yemas, como sugerencia del desarrollo futuro </li></ul><ul><li>Tipo de arreglo: </li></ul><ul><li>- Primavera: arreglo vital con curvas rigurosas </li></ul><ul><li>- Verano: arreglo amplio y desplegado </li></ul><ul><li>- Otoño: arreglo tenue y ralo </li></ul><ul><li>- Invierno: arreglo estático y algo nostálgico </li></ul>
    17. 17. Técnicas Para mantener la frescura de las plantas: - Aplastar, cocer o quemar la base de los tallos, y aplicar varios productos químicos. - Pero es más común cortar los tallos bajo el agua ( mizugiri ) y usarlos de inmediato. - Cortar, bajo el agua, los tallos de hojas y flores marchitas y dejarlos en agua 30min, para devolverles la vitalidad. Para mantener los elementos en su puesto: - Moribana, Shoka: el kenzan. - Rikka, Chabana, Nageire, Bunjin-bana: florero alto.
    18. 18. Técnicas Para mantener los elementos en su puesto: - Moribana, Shoka: el kenzan. - Rikka, Chabana, Nageire, Bunjin-bana: florero alto. Komi u horquetas
    19. 19. Técnicas Para curvar las ramas: - Oshi-dame y teori-dame (doblar con los pulgares) . - Kiri-dame (cortar y doblar). - Nejiri-dame (ramas duras, se curvan en el centro con ambas manos). - Alambre: en estilo libre y rikka; para curvar tallos y aglomerar flores.
    20. 21. Bonsai (Naturaleza en bandeja)
    21. 22. HISTORIA Los bonsai son originarios de China, donde se le conocia como penjin. Durante la dinastía Tang, Japón envio varias misiones diplomaticas a China, las cuales regresaban con varias plantas como recuerdos. La primera referencia en aparecer en Japón ocurre cerca de 1309, en los rollos de Kasuga-gongen-genki, donde aparecen imagenes de paisajes reducidos y ceramicas chinas de aristocratas de la epoca.
    22. 23. Durante las invasiones Mongolas hacia China cerca de 1234, varios artistas e intelectuales viajaron a Japón donde obtenian reconocimiento por sus obras, entre ellos los monjes budistas, que enseñaron a los politicos las tecnicas para crear paisajes reducidos como metas ideales para los hombres cultos. El arte del bonsai alcanza su auge durante el siglo XIX, donde aparecen varias representaciones de arboles reducidos en rollos y pinturas sobre bloques de madera, siendo la publicacion mas importante el Somoku Kinyo Shu ( A Colorful Collection of Trees and Plants / Collection of tree leaves ), que contenia los criterios sobre como cultivar los pinos bonsai e ilustraciones. Finalmente, la aparición del bonsái en Europa se produce en la Exposición Universal de París, celebrada en el año 1898.
    23. 24. FILOSOFIA La filosofia asociada a los bonsai inicia con los sacerdotes Zen que viajaron durante el siglo VIII a Japón. El bonsai se relaciona con el wabi-sabi , siendo wabi la simplicidad del arbol y en la riqueza de la naturaleza en lugar de la riqueza material; y sabi la antigüedad y falta de modernismo.
    24. 25. Simplicidad: El conocimiento y pensamiento se expresa mejor en terminos simples, y en la naturaleza, los arboles mas hermosos son los mas simples. En el bonsai existen 7 principios Zen arraigados en la practica del bonsai: Tranquilidad: El bonsai es un arte tranquilo que evoca paz y quietud. Naturaleza: Evitar lo artificial, mantener la esencia natural del arból.
    25. 26. Asimetria: La harmonia del espacio que se consigue con la forma asimetrica e imperfecta. Sublimidad Austera: El bonsai solo debe contener lo esencial, permitiendo representar una parte del artista.
    26. 27. Libertad de ataduras: El bonsai mantiene los principios de romper las convenciones y formulas establecidas. Profundidad sutil: Un bonsai es capaz de transmitir cierta emoción de misterio, espiritualidad y reflexion.
    27. 28. Principales estilos de bonsai. Vertical formal
    28. 29. Vertical informal Inclinado
    29. 30. Cascada
    30. 31. Crear un bonsai. 1. Escoger el tipo de mata Puede ser cualquier tipo de mata, aunque unas matas le queda mejor. Debes limpiarle las raíces y cortarles ramas. Debes escoger un frente y este no debe tener ramas y se debe evitar las ramas tipo barras T. 2. Esoger y darle estilo al bonsai.
    31. 32. 3. Alambrar el bonsai. Se utilizan alambres para amarrar el bonsai a una posición deseada y asi obtener el estilo que se quiere. Las raíces superficiales se podan ya que esta parte del tronco no ira bajo tierra.
    32. 33. 4. Transplantar el bonsai. Una vez que se escoja la bandeja deseada se procede a poner el bonsai en la misma, despues rellenalo de tierra, y por encima decoralo con arena, grava o musgo. Se le cortan el exceso de raíces debajo del bonsai. No hay que exagerar o la planta puede morir.
    33. 34. Gracias!!! Mukimono. Arte japonés de tallar vegetales y frutas.
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