All religions have spaces that are used for communal liturgy. The art of ikebana is rooted in the Buddhist ritual of flower sacrifice and still widespread today, especially in Japan.
In the sixth century there lived a Buddhist monk in a „Hut by the lake“ (Japanese Ike - no - bo ) on the premises of the temple in Kyoto. The oldest Ikebana school in Japan has its origins here.
Until the 14th century, the centre of ikebana was exclusively the temple and this art was practised almost exclusively by monks, who passed on the rules orally. From the 16th century onwards, these were set down in writing.
Ikebana is called: Redesign with flowers, leaves, branches, i.e. with all plant parts, based on the literal translation. Compared to other arts, Ikebana creations are ephemeral. We mainly work with materials from nature. We take material from the great context of nature and use it to create something new. The diverse forms always offer us new inspiration. Through change and reduction Individual parts highlighted. Each material speaks through its own shape, colour and structure.
An ikebana in its three-dimensional form fills a room. The designs also deliberately include open spaces. The Japanese say: „This is the space for thoughts.“ Flowers and plants change the atmosphere of a room. Harmony and proportion are very important in every design. The rules of the Sogetsu school state: „The first harmony should be between the material and the vessel and then another between the composition and the space. You should compose an ikebana as if it were born from its surroundings.
Ikebana art decorates and transforms any room and is also particularly suitable as a design element in churches. The decisive factor is Church decoration the coordination with the church interior and the objects of worship in it. Finding a suitable form means uniting the character of the material and the space in which it is placed.
When we add ikebana to a painting or sculpture, we need to proceed even more carefully. The ikebana can support and emphasise the statement of the work, but it must not take centre stage. In addition to empathy, the designer needs a great deal of practice and experience with the material.
On the high feasts of the church year, we can express something of the content of the feast through certain shapes and colours.
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For further information about Ikebana in the Bergkloster Bestwig and the courses on offer, please contact Sister Walburga Maria:
e-mail: sr.walburga(at)smmp.de
Phone: 01718393089
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