26 



JAPANESE FLORAL ART. 



relates both to harmony of lines and proportions as well 

 as to harmony of character. One must not clash with 

 the value, motive, or effect of the other, and if possible 

 the combined arrangement of picture and flower group 

 should have a continuity of idea. For example, in the 

 case of a picture representing a water landscape being 

 used, the flowers arranged in front might be irises or 

 other water plants, suggesti\'e of the foreground of the 

 landscape. 



Some of the most popular flowers are treated in a 

 variety of ways, at first sight seemingly capricious 

 enough, but actually founded upon a close observance of 

 natural laws. Combined branches of cherry blossom 

 are to have buds in the centre and top, and blossoms at 

 the base and sides, inasmuch as the cherry tree com- 

 menced blossoming from the lower side branches. In 

 the same way arrangements of autumn leaves are to be 

 redder near the top, because banks of maple trees be- 

 come reddened first towards the top of the slope. 



After the general arrangements of the composition 

 into harmonious lines, special attention is devoted to the 

 distribution of blossoms, buds and leaves. With large- 

 flowered plants, such as the chrysanthemum and paeony, 

 an over-crowding of blossoms is studiously avoided, and 

 full flowers, buds, and half-opened flowers are distributed 

 with careful regard to variety of form and balance of 

 mass. Certain plants, such as the Chinese orchid, are 

 valued only for their fine oval leaves, and with certain 



other flowering water plants, like the iris and narcissus, 

 the long blade-shaped leaves receive more attention than 

 the blossoms. The judicious grouping, bending, and 

 turning of these leaves, so as to reveal their different 

 surfaces without redundancy, form an important part of 

 the art. 



Fanciful classifications into male and female princi- 

 ples and into imaginary functions, such as dew-dripping 

 leaf, dew-holding leaf, spring leaf and winter leaf, come 

 to the assistance of the designer in producing becoming 

 effects. 



Skill in manipulation is only to be acquired by patient 

 practice. The artificial form imparted to branches and 

 stems is obtained by bending, and, in the case of un- 

 yielding material, by means of more violent crushing, 

 splitting, and even temporary bandaging. Methods are 

 in use for increasing the vitality of certain branches by 

 means of drugs, fire, and hot water. The two last 

 methods are applied to the extremeties of cut branches 

 to increase their power of suction, and the drugs, 

 consisting of tea, cloves, and spices, were employed as 

 stimulants. The firm fixing of the stem or branches at 

 their base is obtained by means of slit wooden holders 

 placed crosswise in the mouth of the vessel or in a bam- 

 boo tube hidden in the vessel. For water plants placed 

 in wide, shallow receptacles, fancy metal fixtures are 

 often employed in such forms as crabs, scissors, horses' 

 bits, and other things common and curious. 



Manzanita arctostaphylos of Mount Shasta. (See page lo. 



