Ikebana Japonska sztuka ukladania kwiatow [Manako Rumiko Shiraishi Carton Odile Dias Lila] on *FREE* shipping on qualifying offers. Ikebana. Buy Ikebana Japonska sztuka ukladania kwiatów 1 by Odile Carton, Lila Dias, Manako Rumiko Shiraishi (ISBN: ) from Amazon’s Book Store. SZTUKI WALKI A SZTUKA UKŁADANIA KWIATÓW – BUDO KODO Martial ryu and ikebana ryu share the intriguing convention of the okuden.

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All of these existed for a heartbeat, then vanished without a trace. Ikebana ryu flourished and those still intact continue to do so today under the guidance of headmasters who passed on their titles through familial or other close connexions, exactly as authority has been passed down in martial ryu.

But what is the importance of ikebana in the dojo? Sussho, a term from ikebana, refers to the most natural form of a flower or plant and it is this the arranger attempts to capture in his floral compositions. Fading away in the garden outside, we are barely aware of their passing from our busy world. Because growing naturally at that time of the year, they would likely be bent beneath a load of wet spring snow. There is in ikebana as well as in the martial Ways, a struggle for unity and harmony of elements, for the interplay of hard and soft, for a moment of spontaneous creation based upon the foundation of a fixed form.

The temporality of these arts, however, brings those of us who practice them into a profound confrontation with our own mortality.

Nishitani’s book makes the case for two distinctive approaches to art: This facet of the martial Ways is one of such importance that I don’t think it can be overemphasized, particularly in our times. Basically, ryu representing any of these arts consist of specific traditions, cohesive schools of instruction and maintenance, each with its own distinct skills, curricula, and lore, transmitted from teacher to student in a consistent manner.

The flower of ikebana, he said, is “in the world of death, poised in death. Ikebana kata–though they are not usually referred to in that way–were determined by aesthetics of beauty consonant with native Japanese concepts and with, in many cases, ancient Taoist sources that postulated certain geometric configurations as being ideal forms in terms of art.

To arrange flowers in the spirit of kado and to display them at the tokonoma is not only a tradition of the dojo, it is a powerful exercise in confronting the timelessness of form, the fleeting transience of all that Life which fills it. Later on, the tasks of training, teaching, and maintaining the dojo are more likely to occupy its inhabitants than are such matters perceived solely as decorative like the arranging and display of flowers. Chat with a kadoka sometime and you will be amazed how much you, as a budoka, have in common with him or her.


It was gratifying to hear of a budoka who takes this approach to her training, more ukadabia to hear of a teacher who recognized and appreciated it.


It is, however, a mentality common enough to warrant a brief explanation here of the rationale of the Japanese art of flower arranging, particularly as its conventions relate to the budo. The current headmaster of the Stuka ryu of chado, Sen Soshitsu XV, was talking about the ultimate goal of all the forms of the Japanese Do when he said that they excite us to “do our best to realize each precious moment.

The daily attendance to an ikebana arrangement in the dojo is a rite that reinforces this mentality. When an attack comes, there is no opportunity for contemplation or reflection. While ukebana courant New Age philosophies would have it otherwise, a central rationale for following the path of the budo is in coming to grips with our relative unimportance in the world.

Yet something seems missing, something internal, unidentifiable in words by the students perhaps, although palpable if by no other sense than by its absence.

Ikebana: japońska sztuka układania kwiatów – Manako Rumiko Shiraishi – Google Books

The temporal quality of the art of tea, he said, “gives a feel of the exquisite evanescence of nature. Just a single blossom and a simple ceramic container will do. They were transmitted only to trusted members of the ryu who had proven their worthiness through long and often arduous training.

This is a process of preserving and passing on an art that is, of course, familiar to the budoka. But of course it is roughly equivalent to a complete neophyte coming into your dojo and requesting that you show him some “martial arts stuff” so he can teach it himself.

The moment of the attack or the response cannot be recaptured, the waza cannot be “undone. In response, your body flows, enters a stream of time. This climate of what seems to be futility on a cosmic scale, of the essentially tragic nature of ukadana, carries a sense of gloom and despair in much of Western thought.


I would add to it the budo. They are pursued as a Way of life. The tea ceremony, Noh drama, haiku poetry; all last for an instant, for the briefest span of time.

They involve little secrets or ikebbana of the trade” that will make flowers stay fresh longer or methods that can be employed to bend stems to the desired shape without breaking them. Once they are kwlatw, the flowers do not wither slowly; their death is rendered imminent.


Left alone in nature, their demise would scarcely have been noticed. Come to the dojo early enough to have it to yourself, with flowers and a container.

We linger at the thought of the impermanence it represents. It is important to understand that the practitioner of ikebana no more seeks in his art to make a “pretty bouquet” than the budoka seeks to learn “self defense.

The exponent of a ryu of swordsmanship, for example, learned to kill with his weapon by imitating and mastering the kata kwiaatw exercises”the predetermined patterns of attack and counter that were proven effective by earlier practitioners of the tradition in a process of trial and error on the battlefield.

Nishitani adds to this list of evanescent arts the Way of flowers, kado. That beautiful, perfectly executed shihonage “four directions throw” you performed last night in aikido class; of it, what remains? I hope others in the budo will follow dztuka example.

The budo sensei “teacher” has much the same regard for sussho in the dojo, where he looks for it in his students. While emanating a faint coolness from within and fathomless composure–like a person who has eradicated all attachments to life and abandoned all the expectations fundamental to our mundane existence–through a complete silence they communicate that which is eternal.

It has become severed from the life which denies time and in doing so it had entered time and become momentary. In and yo better known by the original Chinese terminology of yin and yang are qualities of every good ikebana arrangement. In this world, who lasts forever?