A Q&A with Rijji sensei Malathi made for a unique October online meeting

 10th October 2020

18 members tuned in to our online Google Meet monthly meeting at 11am on this Saturday, to enjoy a different kind of experience.  Sensei Malathi requested members to ask all their doubts that they may have regarding the art of Ikebana.

After a few minutes of Hellos, greetings and ensuring that all except the questioner had their mikes off, we began.  Below is a summary of the questions, and answers.  While it was a more elaborate discussion, captured here is the essence of the response.

Prerana:  Please explain what is artistic space in an Ikebana arrangement.

Ans: Space, or the absence of material, is in itself an important part of an Ikebana arrangement.   The space between main lines and jushis is important as a beginner but taking advantage of space as part of your arrangement as you advance, defines an ikebana arrangement.  Incorporating space improves the aesthetics of the arrangement, I can say, and it also allows for the viewer to appreciate the composition.

Chitra T:  Can you please clarify abstract compositions and  compositions with unnatural materials - is there a difference?  Can we add natural materials in an abstract composition?

Ans:  Abstract compositions could be created by using natural materials in an unnatural way - for example, removing leaves from a stalk, being stalks into geometrical shapes, using upside down position, unnatural massing etc.  It is better that all materials in an abstract be displayed in that fashion rather than mixing - but in freestyle it is up to the artist to blend - it is challenging. Unnatural or manmade material is a kind of choice of material, and they will always lead to abstract compositions.   

Q:  Flowers that are naturally seen in a bunch, if we separate each and use in an arrangement, will it be called as an abstract arrangement?  

Ans:  Yes, when we separate each flower from a bunch and use it individually, it is creating an unnatural or abstract arrangement.

Jyotsna: As a teacher how would you assess your student’s progress in Ikebana?

Ans. As I keep seeing your work, I would review and assess your absorption of the technique, as well as the improvement in aesthetics.   Handling of materials, relating to the material,  all improves as a student progresses, and this is what the teacher keeps an eye on.  

Q:  What is the difference between the different schools of Ikebana?

Ans:  There are many many schools of Ikebana, and they impart the lessons in slightly different ways.  The oldest classical school is Ikenobo,  and when you see their arrangements and vases you will see the classical ikebana styles like Rikka and Shoka.  Another old school is Ohara, which focuses on creation of landscapes and is said to be the originator of the moribana style of Ikebana.  Our school Sogetsu was founded by Sofu Teshigahara in 1927, and he was one of the first to recognise Ikebana as a creative art, encouraging free expression, after learning the techniques of Ikebana.  

Chitra R:  We see many large arrangements with "layered" (for want of a better word) plant materials. What are basic principles to follow in layering? How does one avoid clutter?

Ans: it should not be called layering then it becomes flat design. Ikebena is three dimensional and asymmetric. That should be maintained in any arrangement even with many plant materials. As an artist, it is important to keep in mind that there should be a focal point to your creation and the rest of materials complement it, without cluttering.  

Q:  There seem to be some undocumented rules such as avoid crossing of lines and not to use a support for positioning plant material, however when Masters demonstrate they do not strictly follow this. Your comments please.                          

Ans: There are no rules only suggestions. As one becomes advanced depending on the composition the suggestions can be relaxed. It's more important to follow guidelines while learning and doing text book arrangement but in freestyle compositions it is left to the artist.

Dalley:  What is the difference between an ikebana flower arrangement and Ikebana flower composition?

Ans:  Ikebana displays Line, Mass, Surface, Form, Colour. So, arrangements use these from the plant kingdom. Compositions use them by choice of the artist most often with a title directing the viewer to ‘see’ this aspect of the artist’s creation. An untitled composition begs the viewer to ‘see’ as his or her mind allows. 

Q: I want to know about the Facebook arrangements. There I cannot make out shin, soe, hikae etc. Are they following freestyle?

Ans:  Shin, Soe, Hikae, jushis are preparatory guidelines and their angles and heights are guides to concretise your observation of a natural scene or landscape and bring it within your creation as your eye saw it. Like alphabets in language. Free style should be an aesthetic mixture of Line, Mass, Surface, Colour and Form,  otherwise it lacks dynamism and is mundane. The choice of materials should ‘liven’ the show; using exotic materials without purpose and discretion is unrelated and lacks Content. 

Molly:  Q:  When I do arrangement  in a  large transparent  bottle, I like to show the beauty of water without any plant material in it.  Can I use some unconventional materials like coiled metal wire or cane at the mouth of the container to hold the branches, leaves & flowers?

Ans:  Glass containers are an interesting challenge.  Yes, there are interesting ways of fixing material without the fixture being seen, do experiment.  Remember, what is seen within the glass vase is also part of the composition.

Ambika:  I struggle to appreciate  Ikebana in a lot of large arrangements. Both as a naturalist and as an Ikebana artist I am unable to reconcile with the needs of large installations. Is it ok to choose to work only in smaller arrangements? 

Ans:  Yes you can choose to be a tokonoma artist.  Large installations serve a different purpose.  They should be made in a way that the structure can last for a month, and only the fresh materials are replenished.  Large arrangements need the necessary distance in viewing and generally could be viewed from 3 sides.

Venkatesh:  I remember you distinguishing between linear form, surface of lines and line, during one dialogue with me.  Can you please elaborate again. 

Ans:  If I bunch materials together but create a linear movement with that, I would call that a linear form.  A bunch of lines together can create a surface as well - that is not a line then, but is to be treated and interpreted as a surface isn't it?    I hope I have made that clear.

After that satisfying dialogue, sensei Malathi set the members to practise Variation 1 for the workshop, either moribana or Nagiere.  Please click here to see all the arrangements.