In my Geelong class I recently set the advanced students the revision exercise of creating a "Basic Slanting Ikebana", in a moribana (shallow flat-bottomed) vessel. This is the second of the two fundamental styles in the Sogetsu curriculum, the first being the "Upright Ikebana" style; the distinction between the two being the angle of the longest stem, the Shin line, and the placement of the kenzan.
Revision of basic exercises is an important method of maintaining practical skill in any artistic endeavour. This reminds me of my own surprise some years ago at an exhibition of pastel drawings from the estate of renowned Australian landscape artist Fred Williams. For years I have greatly admired Williams' unique portrayal of the Australian landscape. At the exhibition I learnt that, throughout his life, he regularly returned to pastel drawing of the nude figure as a method of maintaining his practical skills.
Tess has used an intensely coloured Crocosmia, for the main lines that stretch to the left. The large inflorescence on the right is one of the many flowers known as a "Red Hot Poker". It provides an asymmetrical balance to the long lines on the left side.The orange colour of the flowers contrasts with the rich green of the sword-like leaves.
Christine has used budding stems of Manchurian pear, Pyrus ussuriensis, for all the principal lines including the low-set balancing line of the same material on the right side. The colour and mass in her ikebana is provided by some mauve Hellebores,
Helen Q used strong branches of pine in a large suiban for the two main lines on the left. The third line on the right side is a single bud of Camellia stripped of its leaves. She has used two fully open Camellia flowers for the mass in the centre of the ikebana.
Ellie used some curving branches of Prunus pissardii nigra, which had small pink blossom beginning to open. A simple spray of green leaves provides a fresh contrast to the late winter branches.
Maree's exercise was to make an ikebana "...Taking into account the colour of the vase...". The large blue surface of the vase is contrasted using a strong branch encrusted with yellow lichen and an orange-red Pincushion flower, Leucospermum.
Jo's exercise was to make an ikebana that incorporated man-made materials. In the presentation of the ikebana she has placed the materials directly on the table surface without using any vessel. This is an exercise from the early part of the Sogetsu curriculum. Jo has paired a green necklace with a carefully-folded Arum lily leaf. The manipulation of the leaf reminded me of the Art Nouveau style in which such lines in botanical materials were favoured.
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Out and about around the surf coast recently it was impossible not to notice the profusion of Australian native Small-leaved Clematis, C. Microphylla.
This photo was taken on the cliff path that leads from Torquay to Bells Beach. It is a very beautiful sight when the creamy-green flowers come out en-masse and cover the host plant. I was interested to learn that they can grow to 5 metres high but do not harm the supporting plant.
In this close-up photo the structure of one of the small flowers can be seen. It is only 3 - 4cm across. Their delicacy make them particularly suited to a cascading style of ikebana.
After disentangling the long fine stems, I removed more than half the leaves and some of the side branches of flowers. Doing so creates spaces that allow the line of the stem to be seen. The completely natural-looking placement requires the removal of excess leaves and flowers so that the character of the the material can be revealed.
I have set the Clematis in a wall vase in the living room niche. The delicacy of the Clematis works well with this vase which has a subtle glaze. It is has an overall light grey colour with faint pink circles occurring irregularly over the surface and small dots of charcoal grey. The vase is by the Australian ceramic artist Paul Davis.
Greetings from Christopher.
21st August 2022
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