The total number of schools that teach floral decoration throughout Japan in the 20th century is believed to number from 2,000 to 3,000, varying in size from several thousand to millions of adherents. Each school has its own rules of arrangement, though styles may differ only slightly from one another. All arrangements are asymmetrical and achieve a three-dimensional effect. The traditional styles are still taught, many with modern variations, but the bolder, less restrained, and unconventional free-style forms of arrangement now seem to be the most popular. The material used in
Japanese floral arrangements is held in position by various artifices, the most popular of which are the
kubari, forked twig, and the
kenzan, needlepoint holder.
This is the definition of what kubari is from a japanese design article...Looking on the internet there are many, many interpretations of this, but this is also very true of ikebana, not many here in America do true ikebana styles with the complete symbolism and true forms as the Japanese do...to be honest we murder such applications because of the disciplines the Japanese use, there is just so much more that goes into these designs than just flower placement. Kubari can be used in Ikebana, the kubari is the method of steading the flowers with some sort of branch or twigs, I have seen many examples, but it is hard to tell true Kubari as most I have seen are American designers and not Japanese, their renditions can be very far off.
Rikka is another type of flower arrangement like ikebana, just with different symbolism and disciplines...definition to follow...
Early styles were known as
tatebana, standing flowers; from these developed a more massive and elaborate style,
rikka (which also means standing flowers), introduced by the Ikenobō master
Senkei around 1460. The early
rikka style symbolized the mythical Mt. Meru of Buddhist cosmology.
Rikka represented seven elements: peak, waterfall, hill, foot of the mountain, and the town, and the division of the whole into
in (shade) and
yō (sun). (In Chinese the characters for
in and
yō are read
yin and
yang, the passive or female and the active or male principles.) Formal
rikka is arranged out of nine main branches and some accessory ones. Three branches are placed so that their tips form a triangle with unequal sides. From this pattern all later styles of Japanese
floral art developed.