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Rikka style was established in the Muromachi period,
in the 15th century. It is said to be the foundation of
Ikebana,
from which Shoka, Moribana and Nageire styles evolved.
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As you may remember from my brief "History of
Ikebana", there are two varieties of Rikka, the traditional Rikka Shofutai
and the more modern, Rikka Shimputai.
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Rikka Shofutai
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Rikka Shofutai is the most formal style of
Ikebana
and has a distinctive character, which expresses the beauty of natural
landscape.
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This
classical type of Rikka follows strict rules and uses special techniques
such as wiring. It consists of nine main stems or parts applying different
characters, length, angles, and directions of materials to construct a
harmonious, scenic natural landscape.
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These nine main stems are Shin, Shoshin, Soe, Uke, Nagashi, Mikoshi, Hikae, Do, Maeoki. These are also known
as yakueda.
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Each yakueda has a particular function and point of
departure from an imagined vertical
line running through the center of the arrangement. This point of departure
is called de. Each yakueda also has a particular insertion position
on the kenzan (pin holder).
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The height, length and position of each yakueda
responds to or supports another. The harmony of height, width and depth is
one of the most important factors to consider. Apart from these nine main
stems, additional stems, called
ashirai are also required for completion. |
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The vase in Rikka usually is 20-30cm in height and
should open out at the top. The stems should appear as a clean, single
, vertical line rising from the centre of the kenzan. This is called
Mizugiwa, literally translated as water's edge.
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Back to Top Back to Shofutai
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Rikka Shimputai |
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Rikka Shimputai, was introduced by the current Head
Master in 1999. This modern Rikka style allows more of the arranger’s
expression, thoughts and creativity because it is released from the rigid
rules and form seen in Shofutai.
For example, Rikka Shimputai does not have
fixed points of departure.
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Instead of having nine main stems seen as in Shofutai,
two contrasting main parts construct Rikka Shimputai, these are known as
Shu and Yo. Usually two or three sets of Shu and Yo with ashirai
are used in a single arrangement. The important factors to consider are
contrasting materials, colour, quantity and texture of the materials.
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The distinguishing characteristics of Rikka Shimputai are brightness, sharpness and
striking or conspicuous appearance. These are similar to Shoka Shimputai, although Rikka
Shimputai has a more relaxed feeling and fresh appearance.
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