56 
THE GARDENERS' CHRONICLE OF AMERICA 
THE 
GARDENERS' CHRONICLE 
OF AMERICA. 
Published by 
THE CHRONICLE PRESS, Inc. 
Office of Publication 
286 FIFTH AVE., NEW YORK 
MARTIN C. EBEL, Editor. 
EDITORIAL OFFICES— MADISON, N. J. 
OFFICIAL ORGAN OF 
NAT I O N A L A SSOCIATION OF GARDENERS 
AMERICAN ASSOCIATION OF PARK SUPERINTENDENTS 
Subscription Price, 12 Months, $1.50 
Foreign, $2.00 
Entered as second class matter Nov. 3, 1914, at the Post Office at New 
York, N. Y., under the Act of March 3, 1879. 
Published on the I5th of each month. 
Advertising forms close on the 1st preceding publication. 
For advertising rates apply to 286 Fifth Ave., New York, N. Y. All edi- 
torial matter should be addressed to M, C. Ebel, Editor, Madison, N. J. 
\'ol. XXI. 
February, 1917 
No. 2. 
JAPANESE FLOWER GROUPING 
'TplllS art of flower grouping and arranging is in its 
•*■ graceful efl:'ects rather a linear than a color study. 
It is undoubtedly a fine art, and represents a scientific 
study of nature in grouping branches and blossoms to 
form a decorative picture. A. Japanese flower artist 
does not merely take a pretty natural branch or flower 
and place it in a vase, but subjects it to certain treatment, 
manipulating his materials as a painter would his colors, 
to form the design, according to traditional rules, which 
have to be carried out most faithfully. 
Very few flowers are used, but are perfect of their 
kind, as every small leaf or branch has its particular 
value in the composition of the picture ; superfluous ones 
are clipped away to attain the desired efl:ect. But per- 
haps the beauty, rather than the philosophy of the flower 
are appeals more readily to the western mind, though 
the designs show nature in her active and passive moods. 
A creeper in one of their hanging Bamboos becomes a 
trail hanging over a clifl^, shaken by the wind. A modest 
little Japanese group of water plants, in a flat stand, 
will give the effect of flags or reeds growing up the river- 
side in a way that a bouquet arranged in European fash- 
ion can never do. A juniper, or Fir branch, properly 
fixed in a Japanese vase makes one think of a calm forest 
tree, whereas in an English one it may mean a piece of 
greenery, while their curved branches of plum blossom 
fully convey the life and virility of a fruit tree in 
springtime. The simpler arrangements of the groups are 
made in three parts — shin, or highest, soye, middle or 
support, and tai, the lowest or finish, which may be de- 
scribed as the equivalent of a picture composit'on, back- 
ground, middle distance, foreground. In the more elabo- 
rate designs these divisions are increased to five or seven 
parts. These are all carefully proportioned so as to give 
balance and symmetry to the group. 
The different parts are carefully prepared before being 
put together, the right-sized flowers, buds and leaves 
chosen, they are then cut to the right length, the bottom 
of flag leaves sliced into a point, and stalks cleanly cut. 
To get a leaf to bend the right way it is damped and 
pressed gently over the hand. Japanese hands are soft 
and flexible, and the flowers seem to respond to their 
gentle touch very readily. Branches of fir or juniper, 
bamboo, or flowering plum are pruned, bent and twisted 
into the right shape and curves for the desired effects. 
The parts being carefully prepared, a number of short 
pieces of stalks and leaves are cut into corresponding 
numbers, about an inch long. The high vase, or stand, 
may be either of bronze or bamboo, and across the top 
of it is fixed a short forked stick, in which the flowers 
or branches are placed in the right positions, the middle 
part leaning slightly either to the right or left — for nature 
is never straight, and each leaf and flower is separated 
by a piece of short stalk, and this needs most careful 
haiulling. While the flowers are held in place with the 
left hand, the little pieces or wedges are slipped in by 
the right, and when properly made should be as firm 
as a growing plant. A loosened leaf or flower will spoil 
the harmony of the v^'hole design, for to keep the right 
lines is most important. For the grouping of flowers in 
the low vases, or flat earthenware stands, heavy metal 
separate stands, or holders, are used. They have little 
partitions in them, and are made in a variety of shapes 
and sizes. 
Seasons and Their Flowers. — For a Summer group of 
Iris fully developed blossoms are used, and for Spring 
arrangement more buds. Dividing the leaves and blos- 
soms into three parts, take the highest for the first divi- 
sion, those a third part shorter for the second, and for 
the lowest use a flower and leaves about half as high 
as the whole ; the latter come into the foreground. The 
ends of the leaves must be cut to a sharp point, and 
other short pieces cut exactly to the height of the metal 
stands are slipped in firmly between every leaf and blos- 
som as it is put in its proper position, wedging them 
in the stands as steadily as in the forked sticks. When 
placed in the dish little pebbles of stones are put in to 
conceal the stands, and when the water is added the 
effect is complete. Any v^'ater loving plant may be used 
successfully for this style of arrangement. The water 
can be changed without any fear of disarranging the 
group, which will be found to last a long time, keeping 
fresh. Simplicity is the keynote of the Japanese taste, 
and where the English will have a dozen vases the 
Japanese will have one, but that one, placed in the 
tokonoma or alcove of the room, will, as well as the 
flowers it liolds, be perfect of its kind. It will generally 
be a flower of the season, as for decoration each season 
has its special flower, beginning with the Plum (ume), 
which comes into bloom at tlie end of January and lasts 
till March. The middle of April sees the Cherry (sak- 
ura) in full bloom, followed hard by the Azaleas 
(tsutsiji) on the mountain sides and garden banks. The 
Tree Pseony represents the month of May, at the end of 
which the V\'istaria comes into bloom. The Iris and 
Lotus and the Convolvulus come in full Summer ; the 
glowing maples and Chrysanthemums finish the floral 
season. . 
Colors have their values in Japanese flower grouping 
also, and red, which represents the male, and white for 
the female, are the suitable flower colors for a wedding. 
The mourner's color in Japan is pure white. Purple is 
forbidden, and certain flowers, willow branches and plants 
are considered unlucky. The heads of Daphnes and 
Cameillias fall oft' too easily to please the ancient Jap- 
anese. Pine trees and Bamboos represent longevity. 
Horal design, as understood in Japanese painting, when 
known more generally to the western schools exercised a 
wide influence in them and possibly their flower art 
would bring its teaching to bear upon our floral arrange- 
ments, were its methods better known among us here. — 
The Times (London). 
