IKE-BANA OR FLOWER ARRANGEMENT.
As we learn the rules of Ike-bana, we do not wonder that it has been the study and diversion of philosophers, generals and priests. The three branches with which the arrangement starts are named Heaven, Man and Earth. Heaven, the longest branch, must be one and one-half times the height of the vase and must stand in the centre of the cluster. Man should be one-half the length of Heaven, and Earth one-half as long as Man. These sprays are bent into the desired curves before they are placed in the vase. Finally, but with great care, every leaf or flower that hides another must be ruthlessly cut off.
By the use of special flowers and the varying disposition of the sprays the season of the year or the particular occasion for which the arrangement is designed may be indicated. For example, unusual curves of the branches suggest the high winds of March; white flowers are used at a housewarming, or they signify water to put out a fire; evergreens or chrysanthemums are used when a youth comes into his property, to express the wish that he may long keep his possessions.
Following out the Buddhist idea of preserving life as long as possible, the Japanese make their vases with a wide mouth, so that the water they contain may be exposed to the air. This makes it necessary to support the branches, and various kinds of holders have been devised for this purpose. Both vases and holders are made of basket-work, porcelain, bronze and bamboo, and according to their shape they are called by such names as "Singing Mouth," "Crane Neck," and "Rampant Lion." Hanging baskets in the form of boats, too, are popular, and receive names like "Cloud Boat" and "Dragon-head Boat." In summer low, shallow vases are used, which suggest coolness by the extent of water surface exposed.
According to the law of Ike-bana, vases should be nine-tenths filled with water in spring and autumn, in hot weather they must be brimful, in winter only four-fifths full, and even less in very cold weather. Pebbles may cover the bottom of the vase in imitation of a river-bed, both white and black ones being used. An effective arrangement is to place three large stones on top of the small ones—quite a high rock to represent a mountain, a second flat one, and a third between the others in height.
The Japanese love to decorate their houses with flowers, but we might say on entering, Where are they? Why, in the most honoured place of all! On the raised platform of the alcove, perhaps beside the image of some god, stands a large vase with a few carefully arranged branches of flowers, or maybe of leaves alone. These are enough. You feel no need of anything more.
The table decorations made for Europeans are especially interesting. They are often placed directly on the tablecloth. One that we saw contained a conventionalized Fuji in evergreen needles, like a flat print, overhung with cotton wool to imitate clouds. Sometimes miniature landscapes are formed in a box, for anything tiny delights the Japanese, and they spend whole days arranging such things. The Inland Sea is often represented in blue and white sand, with real earth for the shores and the islands, while small pine branches are introduced to look like twisted trees. Boats and fishes are put in the blue sand, and small temples set up on the shore. As every imaginable toy is made by the Japanese, the scene can be varied according to the taste of the designer—I have even seen tiny European ladies imitated, and railway trains and telegraph poles introduced.