Excerpt from The Japanese Way of the Flower: Ikebana as
Moving Meditation
by Ann Kameoka and H. E. Davey
Flower arrangement by Ann Kameoka
Artwork by L. J. C. Shimoda
The Japanese Way of the Flower: Ikebana as Moving
Meditation (Stone Bridge), ISBN 1-880656-47-7, $16.95,
paper, 152 pages, by Ann Kameoka and H. E. Davey
Fundamental Principles of Kado
rom the martial arts to dance to kado, particular
philosophical and artistic codes are historically held in
common by all traditional Japanese cultural arts. These
aesthetic codes have had a deep influence on the evolution
of kado. It is not an exaggeration to say that if these
aesthetic principles are not understood, no great awareness
of any Japanese cultural art, whether it be kado,
aikido, tea, dance, or calligraphy, is possible.
A vast number of terms and concepts are associated with
Japanese art, and a detailed explanation of such concepts
is beyond the scope of this book. Besides, a true grasp of
many of these ideas comes only through personal, hands-on
experience in one of the arts of Japan. Nonetheless, the
following sections describe some of the more important
principles of Japanese aesthetics. Each one relates to
the others to form a single, harmonious whole that is
Japanese art. In fact, perhaps the most central concept
in kado and other related arts is the principle of harmony
itself.
Harmony
In kado, it is essential that you understand the attributes
and growth patterns of the plants you are working with. Yet
a mere understanding of the characteristics of a given flower
is not enough to arrive at wa (harmony) in kado.
The serenity and openness of a chrysanthemum blossom is
reflected in the eye of the artist, as soon as he surrenders
himself without reservation to the flower. The curved line
of the mountains on the horizon outside the window of a
Japanese home is in unison with the movement of the pine
branch of an ikebana composition inside the house.
Autumn outside, autumn in ikebana, and maturity of the
artist, this would be a completely harmonious triad. Form
and color, flowers and branches, blossoms and leaves unite
harmoniously with the container and room, with the season
and the sentiments of the artist. Only in modern ikebana
may we forget the principle of wa. Here dissonance appears.
The harmony of nature is, however, underscored through this
principle.
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