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Types Of Ikebana? 1. HEIKA 2. SHOKA 4. MORIBANA 5. FREESTYLE
HEIKA
History of Heika Heika or Rikka was the basic form of Ikebana. The first formal style of arrangement, it was formulated during the 15th century. During this century, the influence of China was strong in both, the arts and crafts. Chinese art objects of all sorts - including vases, tables, candleholders and incense-burners were highly prized as household decorations. The flower arrangements were designed to accord with these objects. Ultimately, the early Buddhist floral decorations were intended to symbolize the gorgeous flowers of paradise, and as a result they were on the whole both ornate and idealistic. The same attributes were preserved in the Rikka style, which aimed not so much at revealing the beauty of flowers, as at embodying flowers with an elevated concept of the cosmos. By the end of the 15th century the priests cum flower-masters had developed the basic concepts into an articulate system. By the early 17th century, the simple offerings to Buddha had taken form of Rikka. The Rikka arrangement was done in one of the three styles known as shin, gyo and so. In the shin style, the main branch (called shin) and the groups of other branches were arranged in a bronze container. The gyo style was typically a low arrangement of considerable breadth, done in a wide, shallow container filled with sand. In the so style, which was also called Nagarie, flowers were arranged in a boat-shaped hanging container.
What Is Heika ? Heika (also called rikka, shoka, or seika) is a basic style of Ikebana arrangement that uses tall vase and highlights vertical lines. The greatest feature is the emphasis on bringing out the flowers' natural charms and arranging them in a tasteful and elegant manner. Rikka is a simple, symmetrical composition of three stems. Rikka literally means 'standing flowers'. The Buddhist monks of Ikenobo School created it. It may well be said to be the nucleus of Ikebana from which all other styles were born. In Rikka, a sense of the structure - to give the work a harmony of height, width and depth - is one of the most important factors to consider. The elaborate art of Rikka was done in tall bronze vases, and required a high degree of technical skill. The main branch, symbolizing heaven or truth was usually asymmetrical, bending out to the right or left before its upper tip returns to the central vertical axis. Numerous other branches, each with its own symbolic meaning and decorative function, emerged from the central mass, the core of an imaginary sphere. As a whole, a work of Rikka was a microcosm that represented the entire universe through the image of a landscape. The chief characteristics- asymmetry, symbolism and spatial depth- were to exert a strong influence on later developments.
A Rikka Arrangement Heika arrangements consist of three main elements - the primary, secondary, and ornamental stems; their lengths, positions, and angles differ depending on the type of Heika style used. The primary stem is tilted forward around 70 degrees and scattered across a 45-degree area to the front and left. The secondary stem is placed behind and to the left of the primary one to give depth. The ornamental stem is arranged so that it slants forward at a 60-degree angle across a 30-degree area to the right of the primary and secondary elements. In the slanting style, one of the most popular Heika arrangements, the length of the primary stem is one and a half times the height of the vase, and the secondary and ornamental stems are around half the length of the primary branch. In Rikka, vases with a narrow opening or tall, jar-shaped containers are used, with the stems being bundled tightly together at the mouth. Crosspieces are used to fasten the stems to the vase. Hidden within the principles of this most representative of Ikebana styles is surprisingly fertile ground for variation and adaptation to contemporary environments. A
rikka arrangement consists of nine parts (Yakueda) which are also
called "Dogu". These are Shin, Shoshun, Soe, Uke, Mikoshi, Hikae,
Nagashi, Do and Maeoki. Sometimes not all of the nine Dogu appear
in the arrangement and at other times certain of the Dogu will be
exaggerated, depending upon the purpose of the work or the characteristics
of the materials. Each of these nine Roles of the nine yakueda 1. Shin: plays the leading part. The position and form of the Shin decides those of the others. 2. Shoshin: stands at the center of the composition and maintains the balance of the work. 3. Soe: is the indispensably supporting part for the Shin. 4. Uke: provides a sense of space and width at the front of the composition. 5. Nagashi: literally means streamer, and it gives a sense of movement to the composition. It is the lowest material in the arrangement but should not bend lower than the mouth of the vase. 6. Mikoshi: spreads outwards and upwards and gives a sense of depth by being in balance with the Maeoki and Shoshin. It should not be arranged higher than the Shoshin nor lower than the Shin. 7. Hikae: spreads outwards on the opposite side of the composition from the Uke with its height higher than that of the Nagashi. Its position is under the Soe. 8. Do: is in front of the Shoshin and a little bit lower than the center of the Shoshin. As 'Do' means body or belly, it plays the role of the foundation of the composition. The way all other Yakueda are arranged depends upon the Do 9. Maeoki: spreads forward towards the viewer and establishes the relation between the lower part of the composition and the Mizugiwa. It also plays the important role of stabilizing the arrangement at a whole.
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