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The birth of the Art of Flower Arrangement seems to be simultaneous with that
of Teaism in the fifteen century. Our legends ascribe the first flower
arrangement to those early Buddhist saints who gathered the flowers strewn by
the storm and, in their infinite solicitude for all living things, placed them
in vessels of water. It is said that Soami, the great painter and connoisseur
of the court of Ashikaga Yoshimasa, was one of the earliest adepts at it. Juko,
the tea-master, was one of his pupils, as was also Senno, the founder of the
house of Ikenobo, a family as illustrious in the annals of flowers as was that
of the Kanos in painting. With the perfecting of the tea-ritual under Rikiu, in
the latter part of the sixteenth century, flower arrangement also attains its
full growth. Rikiu and his successors, the celebrated Oda Wuraku, Furuta Oribe,
Koyetsu, Kobori Enshu, Katagiri Sekishiu, vied with each other in forming new
combinations. We must remember, however, that the flower worship of the
tea-masters formed only a part of their aesthetic ritual, and was not a
distinct religion by itself. A flower arrangement, like the other works of art
in the tea-room, was subordinated to the total scheme of decoration. Thus
Sekishiu ordained that white plum-blossoms should not be made use of when snow
lay in the garden. "Noisy" flowers were relentlessly banished from the
tea-room. A flower arrangement by a tea-master loses its significance if
removed from the place for which it was originally intended, for its lines and
proportions have been specially worked out with a view to its surroundings. 華道は15世紀、茶道と同じ頃に生まれました。初めて花を活けたのは仏教の坊さんの ようです。生き物への哀れみから、嵐で散った花を集めて水桶に活けたのです。 足利義政治下の大画家相阿彌は華道初期の頃の達人でした。茶の珠光も彼の門人です 。池坊の創始者専能もこの人の弟子でした。 16世紀後半に入り利休が茶道を完成するとともに、華道も発展し始めました。利休と 彼の後継者、織田有楽、古田織部、光悦、小堀遠州、片桐石州は新しい趣向を編み出そ うと競い合いました。ただ茶人の花に対する尊敬は茶の湯の一部としてであって、独立 した信奉対象とはみていません。生け花は茶室にある他の美術品と同じで、全体の構成 にしたがわなければいけませんでした。そういう意味で、石州は庭に雪があるときは白 梅を使うことを禁じました。うるさい花は容赦なく茶室から追い出されました。茶人の 生け花は本来の場所から離れればその意義はなくなるのです。それは生け花のラインや プロポーションが周囲のものとの関連で表現されているからです。 |
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The adoration of the flower for its own sake begins with the rise of
"Flower-Masters," toward the the middle of the seventeenth century. It now
becomes independent of the tea-room and knows no law save that the vase imposes
on it. New conceptions and methods of execution now become possible, and many
were the principles and schools resulting therefrom. A writer in the middle of
the last century said he said he could count over one hundred different schools
of flower arrangement. Broadly speaking, these divide themselves into two
main branches, the Formalistic and the Naturalesque. The Formalistic schools,
led by the Ikenobos, aimed at a classic idealism corresponding to that of the
Kano-academicians. We possess records of arrangement by the early masters of
this school which almost reproduce the flower paintings of Sansetsu and
Tsunenobu. The Naturalesque school, on the other hand, as its name implies,
accepted nature as its model, only imposing such modifications of form as
conduced to the expression of artistic unity. Thus we recognise in its works
the same impulses which formed the Ukiyoe and Shijo schools of painting. 花を花のみでその価値を認めるようになったのは、17世紀の中頃に「花の宗匠」が現 れてからです。茶室から独立して、花器との組み合わせのルールだけになりました。生 け花の新しい概念と方法が認められようになって、多くの基本原則や流派が生まれまし た。その頃の文筆家が、華道の流派は百以上あるといっています。大きく分けて、二大 流派に分けられます。形式派Formalistic（フォーマリスティック）と写実派Naturalesq ue（ナチュラレスク）です。池坊に代表される形式派は、絵画の狩野派に匹敵する古典 的理想主義を目指しています。形式派の宗匠達の作品のスケッチが残っていますが、山 雪や常信の絵をそのまま再現したものです。一方写実派は、その名の通り、自然をモデ ルとし、芸術作品としてのまとまりを得るために形を修飾するだけでした。ですから写 実派の作品には、浮世絵や四条派の画に通じる創作意図がみられます。 |
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If would be interesting, had we time, to enter more fully than is now
possible into the laws of composition and detail formulated by the various
flower-masters of this period, showing, as they would, the fundamental theories
which governed Tokugawa decoration. We find them referring to the Leading
Principle (Heaven), the Subordinate Principle (Earth), the Reconciling
Principle (Man), and any flower arrangement which did not embody these
principles was considered barren and deal. They also dwelt much on the
importance of treating a flower in its three different aspects, the Formal, the
Semi-Formal, and the Informal. The first might be said to represent flowers in
the stately costume of the ballroom, the second in the easy elegance of
afternoon dress, the third in the charming deshabille of the boudoir. 時間があれば、この時代の宗匠が定めた構成の原則や細かい規則、これらは徳川時代 の装飾方式を支配した根本原理なのですが、それらを調べるのも面白いことでしょう。 彼らは天（指導する原理）、地（従う原理）、人（調和する原理）を提唱し、この原則 から離れた生け花は、味気ない死んだものと考えました。また花を活けるには、正式、 半正式、略式の三つの段階で扱うことが大切だと述べています。最初は舞踏会の盛装の 花、第２は少しすましたアフタヌーンドレスの花、第３は小粋な部屋着の花。 |
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