Relevant bibliographies by topics / Ikebana

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Ikebana'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 June 2025

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Journal articles on the topic "Ikebana"

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McDonough, Deirdre. "Ikebana." Antioch Review 50, no. 3 (1992): 528. http://dx.doi.org/10.2307/4612566.

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Anbarwati, Baiq Nisrina Tri, I. Prihandari, and Efrizal Efrizal. "representation of Zen Buddism in Ikebana flower arrangement of Ikenobou School." International journal of linguistics, literature and culture 9, no. 2 (2023): 73–82. http://dx.doi.org/10.21744/ijllc.v9n2.2241.

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This study aims to describe the philosophy emerges from Ikebana (the Japanese flower arrangement) of Ikenobou school/stream and the representation of beauty concept according to Zen Buddhism in Ikenobou’s ikebana. The research data was contained of seven (7) characteristics of Zen Buddhism according to Hisamatsu Shin’ichi namely: fukinsei, kanso, shizen, kokou, yuugen, datsuzoku, and seijaku within five (5) Ikebana flower arrangements from Ikenobou school namely: rikka, shoka, moribana, nageire, and jiyuka. As the result showed: 1) the prominent characteristic was Seijaku which found in the four Ikebana styles in twenty-one pieces, meanwhile the least characteristics were Fukinsei and Kanso found in two pieces of flower arrangements whereas the Kokou characteristic was absent in all flower arrangements; 2) the representation of beauty philosophy found in the flower arrangement of Ikenobou school/stream through its Ikebana styles were: (a). The 自由化 (Jiyuka) style represented characteristic of: 不均斉 (fukinsei) or asymmetrical, 自然 (shizen) or naturalness, and 脱俗 (datsuzoku) or free from bonds/ties. (b). The 昇華正風一種いけ (Shoka Shofutai Isshuike) style represented the characteristics of 簡素 (kanso) or simplicity. (c). The 立花 (rikka) style represented the characteristic of 幽玄 (yuugen) or deep meaning and (d). 昇華新風 (shoka shinputai) represented the characteristic of 静寂 (sijaku) or stillness/silence.
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Tretyakova, Maria S., and Nadezhda S. Aganina. "JAPANESE CHARACTERS AND IKEBANA: FROM YIN YANG BALANCE TO BREAKING OF FORM WITH SHIN GYO SO." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 95–111. http://dx.doi.org/10.17223/22220836/41/8.

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This study investigates a deep connection between Japanese characters and Ikebana, which is due to the fact that Japanese characters as well as ikebana express the same picture of the world. Because the basis of this model of the world is laying in the Chinese tradition, we will first examine the Chinese characters and Chinese art of flower arrangement or chahua, and then the Japanese characters and Japanese ikebana. In the study, we refer not only to the works of Russian researchers, such as V.V. Malyavin, V.G. Belozyorova and V.A. Pronnikov, but, to a greater extent, to sources in Japanese (Nakamura Yasuo, Sasaoki Ryuho, Kumakura Isao, etc.), as well as to English-speaking authors or translations (Li Xia, Li Huilin). Analyzing the structure of the Chinese character, we look at lined paper for calligraphy which is usually being used in China. Lines of this paper indicate the connection of the structure of a character with Taiji or Supreme Ultimate, because a character is inscribed in a circle of Taiji, it has Yin and Yang sides and as we can say ‘exists’ in the ‘circle of changes’ or Bagua. In Japan, Chinese lined paper were not widespread, but the styles of calligraphy (regular script, semi-cursive script, cursive script) that came from China were elevated to the principle of simplified and broken form, Shin – Gyo – So, which became the basis for the Japanese type of beauty, kuzushi-no bi. Then we turn to the Chinese flower art, chahua and show its basic principle, which related to the Chinese characters, we mean the balance of Yin and Yang. Japanese art of ikebana we analyze in more detail and observe three main schools of Ikebana: Ikenobo, Ohara and Sogetsu. In the schemes of the Ikenobo (the oldest school in Japan), we find schemes in which floral arrangements are inscribed in a circle of Taiji (rikka flowers). In a later direction of Japanese flower arrangement (shoka, or seika flowers), we meet the principle of Shin – Gyo – So. We consider the same principle on the example of chabana, that is, flower arrangements for a tea ceremony. We also observe ikebana of Japanese literati Bunjin, who strive for a lifestyle of Chinese literati Wenren. The flowers in Chinese taste in contrast with actually Japanese ikebana do not have any patterns, but it has ‘refined riddle theme’ meigogadai with limited combinations of flowers. Also, it has more obvious connection with Chinese characters form. We conclude that a Chinese character shows subtle difference between manifested and unmanifested world, balance of Yin Yang while in Japanese tradition we can see preference of forms broken or simplified with Shin Gyo So. Chinese flower arrangement сhahua is also based on Yin Yang balance while in Japanese Ikebana it was transformed with Shin Gyo So.
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Kelly, Rachel. "Ikebana: A Collaborative Design Pedagogy." Design Journal 20, sup1 (2017): S1093—S1105. http://dx.doi.org/10.1080/14606925.2017.1353053.

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Nakayama, Machiko. "The Historical Development Of Ikebana." Malaysian Journal of Performing and Visual Arts 4, no. 1 (2018): 36–62. http://dx.doi.org/10.22452/mjpva.vol4no1.3.

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Sambeka, Fince L. "Mengenal Chanoyu, Ikebana dan Matsuri dalam Budaya Jepang." Syntax Literate ; Jurnal Ilmiah Indonesia 6, no. 5 (2021): 2163. http://dx.doi.org/10.36418/syntax-literate.v6i5.2726.

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Penelitian ini bertujuan mendeskripsikan bentuk-bentuk dan makna yang terkandung budaya Jepang terutama Chanoyu dan Ikebana yang menjadi bagian dalam pembelajaran Bahasa Jepang di Indonesia. Penelitian ini menggunakan pendekatan kualitatif, karena pendekatan kualitatif merupakan prosedur yang menghasilkan data deskriptif berupa data tertulis atau lisan dalam masyarakat bahasa. Dengan demikian metode yang digunakan dalam penelitian ini ialah metode deskriptif artinya masalah dipecahkan dengan jalan menggambarkan objek penelitian pada saat sekarang, tanpa memperhatikan kesejarahan berdasarkan fakta yang kelihatan atau tanpa melakukan eksperimen. Studi kepustakaan dilakukan peneliti untuk mengumpulkan data yang berhubungan dengan masalah yang diteliti melalui sumber buku-buku yang membahas tentang linguiustik dan selanjutnya dianalisa dengan prosedur mengelompokan, menganalisis, dan mendeskripsikan. Hasil Penelitian mengungkap bahwa Chanoyu bermakna tata cara mengajarkan etika untuk menghormati orang yang lebih tua dan cara bertutur dengan yang lebih muda. Ikebana menegaskan bentuk penghormatan pada bersemayangnya Tuhan melalui garis linier bunga yang dibentuk. Demikian juga, Matsuri adalah istilah agama shinto yang berarti persembahan ritual untuk Kami sama/Tuhan. Matsuri berarti festival atau perayaan di Jepang. Setelah melakukan penelitian ini, melalui pembahasan tentang budaya chanoyu, ikebana dan matsuri penulis mendapatkan pemahaman baru tentang budaya Jepang, dimana kata dou dalam shadou’upacara minum teh’ dan kata dou dalam kadou’ atau merangkai bunga adalah merupakan konsep yang terpenting yang dipengang orang Jepang dimana dou yang artinya’jalan’atau ‘jalur’yaitu melambangkan kepercayaan yang disebut jalan ditempuh seorang atau diri sendiri
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SASAKI, Miki, Reito OIZUMI, Ayako HOMMA, Yuri MASAOKA, Masafumi IIJIMA, and Ikuo HOMMA. "Effects of Viewing Ikebana on Breathing in Humans." Showa University Journal of Medical Sciences 23, no. 1 (2011): 59–65. http://dx.doi.org/10.15369/sujms.23.59.

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Mukai, Nobuhiko, Sayaka Takara, Aya Segawa, Masashi Nakagawa, and Makoto Kosugi. "Prototype System for Ikebana Exercise with Haptic Device." Journal of The Institute of Image Information and Television Engineers 64, no. 10 (2010): 1510–15. http://dx.doi.org/10.3169/itej.64.1510.

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Сидорова, Л. Е., and А. Н. Макарова. "The art of ikebana and the Mokume gane technique in the aesthetics of jewelry." Management of Education, no. 6(46) (December 15, 2021): 102–7. http://dx.doi.org/10.25726/e4612-9315-0247-u.

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Ювелирное искусство характеризуется тонким пониманием особенностей материала, умелымопределением его декоративных качеств и высокой степенью мастерства в художественном исполнении.Богатая культура Японии распространяется по всему миру, включая индустрию моды, телевидение иювелирное дело. Статья посвящена разработке концепции дизайн-проекта ювелирного комплекта сиспользованием японского искусства. Рассмотрено традиционное японское искусство составленияцветочных композиций - икебане. Изучено развитие японского ювелирного искусства и особенноститехнологии обработки металла. В статье представлены основные пути совершенствованиядизайнерских решений ювелирного украшения, состоящего из пары асимметричных серег и кулона, сиспользованием традиционного японского искусства икебаны и технологии Мокуме гане, заключающейсяв творческой идее, где образ природы удачно сочетается с композицией и технологией. Авторыобращают внимание на синтез двух сложных искусств, сочетающих в себе образы двух направленийяпонской культуры, что становится новой тенденцией в ювелирной сфере. Jewelry art is characterized by a fine understanding of the characteristics of the material, a skilfuldefinition of its decorative qualities, and a high degree of skill in artistic execution. The rich culture of Japan isspread all over the world, including the fashion industry, television and jewelry. The article is devoted to thedevelopment of the concept of jewelry set design project using Japanese art. The traditional Japanese art offlower composition - ikebane - is considered. The development of Japanese jewelry art and peculiarities of metalprocessing technology are studied. The article presents the main ways to improve the design solutions of jewelryconsisting of a pair of asymmetrical earrings and a pendant, using the traditional Japanese art of ikebana andtechnology Mokume gane, which consists of a creative idea, where the image of nature is successfully combinedwith the composition and technology. The authors draw attention to the synthesis of two complex arts, combiningthe images of two directions of Japanese culture, which is becoming a new trend in the jewelry sphere.
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Kobayashi, Shota, Olaf Karthaus, and Viktor Fischer. "Micro-Ikebana by Biomimetic Crystallization of Alkaline Earth Carbonates." e-Journal of Surface Science and Nanotechnology 15 (2017): 65–68. http://dx.doi.org/10.1380/ejssnt.2017.65.

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Dissertations / Theses on the topic "Ikebana"

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Freire, Adriana Bomeny. "A arte japonesa e a Ikebana na produção de Toshiro Kawase." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-24042015-165315/.

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Esta pesquisa visou possibilitar o conhecimento da Ikebana como uma manifestação estética significativa, integrante da história da arte japonesa e que vem se disseminando pelo mundo. Para compreensão da sua estética, será demonstrado como exemplo o trabalho do artista contemporâneo Toshiro Kawase, o estudo do Zen e suas características. Toshiro Kawase é um artista especializado na arte da Ikebana, e suas obras resultaram em dois livros de âmbito internacional: Inspired Flower Arrangements (1990) e The Book of Ikebana (2000). A arte japonesa é baseada nos sentimentos e na simplicidade de expressão, que motivaram este povo a utilizar a natureza como suporte para executar memoráveis obras de arte. Ao longo da história, no oriente e no ocidente da mesma forma, a beleza das flores adicionou graça e charme na vida das pessoas. A pesquisa analisa a arte japonesa e sua ligação inseparável com a religião, abordando principalmente os aspectos do sagrado, o conceito do belo e a real função do artista de Ikebana.<br>This research intends to show Ikebana by being an esthetic manifestation of art, that been walking side by side with all stages of Art History. To understand the esthetic of Ikebana, will be demonstrated by example, the contemporary artist Toshiro Kawase, the Zen study and its characteristics. Toshiro Kawase is an artist specialized in Ikebanas Art, and his production inspired two international books: Inspired Flower Arrangements (1990) and The Book of Ikebana (2000). The Japanese art is based on emotions and expression simplicity that motivated this people to use the nature like a support to execute memorable works of art. In all parts of history of the art, in occident and in the orient at the same way, the beauty of flowers added grace and charm in peoples life. The question is: Why do Ikebanas art appeared only in Japan or related to Japanese? This research, analyses the Japanese art and its unbreakable link with religiosity, often the sacred aspect, the definition of beauty and the real functionality of the artist. This research also presents aspects of the principal objective of art, and how to do its communication purposing the perpetuation of his human experiences.
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Leite, Tadeu Ulisses Barros. ""Campanha de formação do paraíso por meio das flores": a influência da arte Ikebana Sanguetsu na espiritualidade de membros e frequentadores da Igreja Messiânica Mundial do Brasil." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19311.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-09T10:57:53Z No. of bitstreams: 1 Tadeu Ulisses Barros Leite.pdf: 5272813 bytes, checksum: 0fbdae96b6d1d29d0f02ec4e398bd06a (MD5)<br>Made available in DSpace on 2016-11-09T10:57:53Z (GMT). No. of bitstreams: 1 Tadeu Ulisses Barros Leite.pdf: 5272813 bytes, checksum: 0fbdae96b6d1d29d0f02ec4e398bd06a (MD5) Previous issue date: 2016-09-16<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Pontifícia Universidade Católica de São Paulo<br>This research aims to reflect on the connection between religion and art on the philosophical and practical basis of the World Messianic Church of Brazil (IMMB), according to Mokichi Okada, and to analyze the influence of the Ikebana Sanguetsu Art on the spirituality of members and non-members of this institution. It was used on this research the bibliographical review methodology and the application of two questionnaires of interview with the subjects: (1) Underwood`s Spiritual Everyday life Modified Experience Scale and (2) Questionnaire about the practice and appreciation of the Ikebana Sanguetsu Art. The questionnaires were applied to 76 people, 57 members and 19 non-members of the institution, randomly raffled from the IMMB register, including São Paulo state region. First it was asked to the participants to read and sign an authorization (Termo de Consentimento Livre e Esclarecido). The participants who declared not to know the Ikebana Sanguetsu Art were excluded from the study. The data was analyzed in two phases: the first was quantitative and it was used the Statistical Package for Social Sciences – SPSS; the second was qualitative<br>A pesquisa tem como objetivo refletir sobre a relação entre religião e arte dentro da base filosófica e prática da Igreja Messiânica Mundial do Brasil - IMMB, sob a visão de Mokiti Okada, analisando a influência da arte Ikebana Sanguetsu na espiritualidade dos membros e frequentadores dessa instituição. Utilizamos nesta pesquisa a metodologia de revisão bibliográfica e a aplicação de dois questionários de entrevistas com os sujeitos: (1) Escala sobre a Experiência Espiritual Cotidiana Modificada de Underwood e (2) Questionário sobre A Prática e Apreciação da Arte Ikebana Sanguetsu. Os questionários foram aplicados a 76 pessoas, sorteadas aleatoriamente, a partir dos cadastrados da Igreja Messiânica Mundial do Brasil - IMMB, na região da Grande São Paulo, sendo 57 membros e 19 frequentadores da instituição. Para a realização da pesquisa, inicialmente solicitamos aos participantes que lessem e assinassem o Termo de Consentimento Livre e Esclarecido. Os indivíduos que declararam não conhecer a Arte Ikebana Sanguetsu foram excluídos do estudo. A análise dos dados obtidos foi realizada a partir de dois momentos distintos, sendo a primeira análise com enfoque quantitativo, onde utilizamos o recurso Statistical Package for Social Sciences – SPSS – e a segunda análise com enfoque qualitativo
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Hung, Lin Chih, and 林志宏. "Bamboo’s "Renka" Sogetsu Ikebana Creation Research by Lin Chih Hung." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/10069207735150391707.

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碩士<br>亞太創意技術學院<br>文化創意設計研究所<br>103<br>Chinese flower arrangement started from Six Dynasties era, and became popular in Tang and Song Dynasties. The flower arrangement school wasn’t established until Ming Dynasty, and then spread in Japan and South Korea. IKEBANA (Japanese flower arranging) originated from sixth century AD. In 1927, Sogetsu Ikebana flower arrangment flow was founded by Sofu Teshigahara in Tokyo, Japan. In Japan, Ikebana is not only a culture, but also contains a spiritual mold and practice. Ikebana is not only a heritage of art tips to show people its beautiful flowers posture, but also can cultivate people’s character, self-cultivation, and improve their sense of beauty and social literacy. The author has studied Sogetsu Ikebana flower arranging flow for 20 years, and is very keen on its free-spirited and unrestricted creative style. Bamboo is a material which has been wildly discussed in recent years, and has been applied in flower arrangement by Sogetsu more than 50 years ago. The third generation Iemoto Hiroshi Teshigahara made the bamboo used in Ikebana extremely well and has become the representative image of this genre. Renka（れんか） was also promoted by Iemoto Hiroshi Teshigahara, his lifetime and concept has been received most attention and used by Japanese, European, and American Ikebana artists. This research uses the aesthetic concept of Ikebana to construct an exhibition by applying Taiwan bamboos with my personal viewpoints of the combination of bamboos and Ikebana flower arrangement. So far, there are few researches regarding to ikebana Sogetsu or Ikebana in Taiwan. This thesis is mainly to explain and analyze the origins, the aesthetic concepts of Ikebana as well as the history of Ikebana Sogetsu stream and the characteristics, status and floral art tips of Ikebana Sogetsu flow are also explored Meanwhile the possibility of using bamboos and bamboos artwork in Ikebana performance is discussed.
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Sotirova-Kohli, Milena D. "Archetypal Creativity and Healing: An Empirical Study of Floral Design (Ikebana)." 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-08-2939.

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The theory of embodied cognition focuses on mechanisms of meaning beyond the traditional in western metaphysics dichotomy of body and mind. These mechanisms are considered to be the emerging aspects of meaning related to early infant experience of interaction with the environment. Image schema as the earliest form of representation in the mind corresponds to the notion of archetype from analytical psychology. Theory and research suggest that being in touch with the archetypal level of cognition is related to integration of parts of the personality and promotes well-being. Art and creativity are considered to facilitate this process and in this sense to promote healing. Active imagination is a method devised by C. G. Jung to relate to different aspects of the personality through creativity which results in a creative product. Active imagination bears similarity to art, however it focuses not only on the aesthetic outcome of the creative endeavor but also on the transformation of the personality in this process. Analytical psychology studies a number of creative expressions of the products of active imagination such as sand play, drawing, clay modeling, writing, dancing and psychodrama. However, there are no available empirical studies of the healing aspects of creative work with cut flowers. We hypothesized that being involved in creative work with cut flowers would promote well -being expressed in increase of hope, existential/spiritual meaning and humility and decrease of depression, anxiety and physiological symptoms. The participants in our study were undergraduate students from Texas A&M University either involved in a semester long course in Floral Design or in an Introductory Psychology Course. Participants were assessed at two time points on all variables of interest. They were also asked to draw mandalas and to write essays (floral condition). Although quantitative analysis did not find any significant differences between the groups over time as a result of the creative work with cut flowers, the qualitative analysis of the mandala-drawings and the essays showed statistically significant tendency to balance, centeredness and calmness over time in the floral group.
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Rong, Liaw Mei, and 廖美容. "NATURAL OBJECTS AS ART MEDIUM：A STUDY OF OHARA SHOOL OF FLOWER ARRANGEMENT (OHARA IKEBANA)." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/6hdua6.

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碩士<br>國立臺灣藝術大學<br>造形藝術研究所<br>98<br>SUMMARY Flower arrangement also known as ikebana (いけぱな) which is one of skill of flower arrangements to insert flower branches artistically into a bottle or on plate。 Wherever China、Japan or European and America， although the denominations and manifestations are different but they are nothing more than flowers and trees as the main media of an art。 In the early days of the Liberation of Taiwan from Japanese Occupation Retrocession， many young people abroad in Japan returned to Taiwan with Japanese wife. Because Japanese women have been natured Japanese traditional cultures of IKEBANA (Japanese style of flower arrangement) and CHADO or SADO (The way of tea also known as Japanese tea ceremony) since one was very young， therefore those Japanese immigrated Taiwanese wives imported the quintessence of the Japanese culture IKEBANA to Taiwan and stated their talent and skill to integrate into Taiwanese society and to motivate the interest of learning IKEBANA and made it become the most favorite leisure activities of housewives over the past sixty years. As one of the master IKEBANA sects， OHARA IKEBANA expresses its characteristics of the diversiform performance，natural and lively are suitable to be placed for home decoration in Taiwan。 Since a long time，flower arrangement has not been subject to academic attention for the object of study. In order to establish its potential as an academic research，the author has been collecting data。 This paper is analyzed with the collected data of philology， probed into with stylistics and classified by typology together with the author’s more than 40 years of hands-on experiences。 The first chapter is to explore the definition of floral art, function, and evolution of historical data from the floral collection， back the origin of decorative flowers both in East and West。The second chapter is to describe the main structure of the floral art rising of OHARAN ikebana and the change of the arranged style and form。The major content of the third chapter is the form analysis for those various flower arranging skill and technique in the field of OHARA IKEBABA floral art and also the detailed description for the most representative three kinds of flower arrangements： SHAKE Ikebana， LYNBA Ikebana and WUNZEN Ikebana, among which to make use of the related term of forming psychology as an analytical tool, and works cited for mutual comparison and discussion. The final chapter is to look into the possibility of the expanding direction of the technique of OHARA Ikebana and the potential of the future evolution. With the aesthetics of flora art of OHARA Ikebana, papers provide academic research, and through discussion and description by the proposed papers, look forward it can lead flora art one step ahead into academic program gradually in the coming future and become the explored object of the academic profession finally.
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Lai, Jui-Ya, and 賴瑞雅. "Gazing at the Life of a Flower--A Study on the Thoughts of Beauty in Ikenobo Ikebana." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/95548727210119145871.

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碩士<br>南華大學<br>視覺與媒體藝術學系<br>102<br>Since 1970s in Taiwan, economy has been growing and people have become richer and richer, so there are more and more people devoted to the teaching of flower arrangement. Who love flower arrangement and follow this trend get more. Flowers become a part of life, such as in offering to gods or ancestors, decorating in funerals, wedding, people’s normal life, or even people’s leisure life. “Flower Arrangement” written as “Kadou” in Japanese, called as “Ikebana,” implies that people convey their thoughts and present the transient sense of beauty by arranging flowers. In Taiwan, Kadou, which became a vital way, for high social class, to communicate with the others in the same social class, begins during Japanese colonial period. After the Nationalist government settled in Taiwan, only few who had ever studied in Japan or Japanese women who married Taiwanese men taught women in high social class to arrange flowers. This becomes a fashion. What they teach and learn most as well as what lasts longest is Ikenobo. However, those who learn and love Ikenobo are not good at Japanese language and culture, so “Ikenobo Ikebana” they learn is fragmented. Not only in flower patterns but styles, they know how to arrange flowers but they don’t know why. Aside from caring about external images, “Ikenobo ikebana” has specific sense of beauty. This sense of beauty contains more profound life philosophy, influenced by both their original belief and Buddhism, which includes the thoughts that are quite different from people’s traditional thoughts in Taiwan, such as “impermanence,” “kongji-empty silence,” leisurely quietness,” and “youxuan.” If we don’t understand the unique sense of beauty hidden in Japanese humanity spirit, we can’t fully know “Ikenobo ikebana.” However, flower arrangement is a pat of our culture in Taiwan, yet not domain in fashion. Until now, influenced by our traditional culture, the studies on the art of ikebana (i. e., the art of flower arrangement) mostly focus on Chinese art of ikebana. In order to understand and promote multi-cultural development in our own society, the study on the life beauty hidden and presented in Japanese Ikenobo Kadou is necessary. For the sake of achieving this goal, three aspects in this study are explored. Firstly, concerning Japanese history and culture, how its original belief and Buddhism influence the formation of Ikenobo Kadou is revealed. Secondly, explore the impact of the idea of Tian tai Japanese Buddhism on the spiritual connotation of Ikenobo Ikebana. Finally, as for aesthetics, the thoughts of beauty and vitality hidden and shown in Ikenobo Kado are explored.
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Books on the topic "Ikebana"

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Ikebana. Retrofit Comics & Big Planet Comics, 2015.

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Marotta, Nene de. Ikebana. [s.n.], 1989.

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Pérez, Emma Artiles. Ikebana. Editorial Gente Nueva, 1998.

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Fauquet, Ginette G. Ikebana. Éditions David, 2002.

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Kawase, Toshirō. Eigo de "ikebana" =: The book of ikebana. Kōdansha Intānashonaru, 2000.

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Teshigawara, Sōfū. Sōgetsuryū ikebana. Shufu no Tomosha, 1986.

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Hiroshi, Teshigahara. Ikebana sogetsu. Shufunotomo Co., 1986.

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Keiko's ikebana. Tuttle Pub., 2005.

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Genji monogatari to ikebana: Genji-ryū ikebana no kiseki. Heibonsha, 2019.

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Walther, Hendrik. Ikebana und Bonsai. Bibliographisches Institut Leipzig, 1989.

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Book chapters on the topic "Ikebana"

1

Chiba, Kaeko. "Utensils and ikebana arrangements." In Japanese Flower Culture – An Introduction. Routledge, 2022. http://dx.doi.org/10.4324/9781003248682-11.

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Chiba, Kaeko. "Philosophy and aesthetics in ikebana." In Japanese Flower Culture – An Introduction. Routledge, 2022. http://dx.doi.org/10.4324/9781003248682-3.

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Ikenobo, Yuki, Yusaku Mochizuki, and Akinori Kuwahara. "Usefulness of Ikebana a Nursing Care Environment." In Lecture Notes in Computer Science. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21070-4_44.

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Hung, Mai Cong, Mai Xuan Trang, Naoko Tosa, and Ryohei Nakatsu. "IkebanaGAN: New GANs Technique for Digital Ikebana Art." In Culture and Computing. Interactive Cultural Heritage and Arts. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77411-0_7.

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Saruwatari, Junichi, and Masafumi Hagiwara. "Ikebana Support System Reflecting Kansei with Interactive Evolutionary Computation." In Entertainment Computing - ICEC 2005. Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11558651_44.

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Goto, Akihiko, Naoki Sugiyama, Yuki Ikenobo, Norihito Yamaguchi, and Hiroyuki Hamada. "Analysis of Cutting Operation with Flower Scissors in Ikebana." In Advances in Manufacturing, Production Management and Process Control. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94196-7_35.

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Mai, Cong Hung, Ryohei Nakatsu, and Naoko Tosa. "Developing Japanese Ikebana as a Digital Painting Tool via AI." In Lecture Notes in Computer Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-65736-9_27.

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Tosa, Naoko, Shigetaka Toba, Yunian Pang, Akihiro Yamada, Takashi Suzuki, and Ryohei Nakatsu. "Creation of Fluid Art “Sound of Ikebana” Under Microgravity Using Parabolic Flight." In Entertainment Computing – ICEC 2022. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-20212-4_20.

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Ikenobo, Yuki, Noriaki Kuwahara, Noriyuki Kida, Yuka Takai, and Akihiko Goto. "The Classification Tendency and Common Denomination of the Points Paid Attention in Ikebana Instruction." In Lecture Notes in Computer Science. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07725-3_26.

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Ikenobo, Yuki, Yuko Hanba, Noriaki Kuwahara, and Akihiko Goto. "Analyzing the Difference Between Floral Materials Water Potential When Cut by Ikebana Experts and Inexperienced Persons." In Digital Human Modeling: Applications in Health, Safety, Ergonomics and Risk Management. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40247-5_42.

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Conference papers on the topic "Ikebana"

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Miyazaki, Ayano, Hiroko Ota, Kumiko Iwazaki, et al. "Curving Leaves in VR Ikebana." In 2019 IEEE 8th Global Conference on Consumer Electronics (GCCE). IEEE, 2019. http://dx.doi.org/10.1109/gcce46687.2019.9015314.

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Miyazaki, Ayano, Hiroko Ota, Kumiko Iwazaki, Mayu Urata, Mamoru Endo, and Takami Yasuda. "Hand Tracking-based VR Ikebana Manipulation." In 2021 IEEE 10th Global Conference on Consumer Electronics (GCCE). IEEE, 2021. http://dx.doi.org/10.1109/gcce53005.2021.9621994.

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Yokokubo, Anna, Yuji Kato, and Itiro Siio. "Development of Tangible Controller for Ikebana Training System." In 2019 IEEE CPMT Symposium Japan (ICSJ). IEEE, 2019. http://dx.doi.org/10.1109/icsj47124.2019.8998709.

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Miyazaki, Ayano, Hiroko Ota, Masashi Yamada, and Kimiko Iwazaki. "Evaluation of Ikebana Based on Geometric Shape Arrangement." In 2017 Nicograph International (NicoInt). IEEE, 2017. http://dx.doi.org/10.1109/nicoint.2017.36.

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Miyazaki, Ayano, Hiroko Ota, Masashi Yamada, and Kumiko Iwazaki. "VR Ikebana Training Simulation for Promoting the Art." In 2018 Nicograph International (NicoInt). IEEE, 2018. http://dx.doi.org/10.1109/nicoint.2018.00020.

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Shimbo, Shoso. "Nature in Ikebana (Japanese Flower Arrangement): Beyond Sustainability." In – The Asian Conference on Arts & Humanities 202. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2186-229x.2020.3.

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Sithu, Mya, Yutaka Ishibashi, Pingguo Huang, and Norishige Fukushima. "Ikebana competition in networked virtual environment with haptic and olfactory senses." In 2014 13th Annual Workshop on Network and Systems Support for Games (NetGames). IEEE, 2014. http://dx.doi.org/10.1109/netgames.2014.7008956.

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Huang, Pingguo, Yutaka Ishibashi, Norishige Fukushima, and Shinji Sugawara. "QoE assessment of olfactory media in remote ikebana with haptic media." In 2012 IEEE International Workshop Technical Committee on Communications Quality and Reliability (CQR 2012). IEEE, 2012. http://dx.doi.org/10.1109/cqr.2012.6267110.

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Takazaki, Mayumi, Mayu Asakura, and Shinji Mizuno. "Creating Interactive Digital Contents "Muchu Genka" and "Virtual Ikebana" Based on Japanese Flower Arrangement." In 2021 IEEE 10th Global Conference on Consumer Electronics (GCCE). IEEE, 2021. http://dx.doi.org/10.1109/gcce53005.2021.9621904.

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Mizuno, Shinji. "Interaction with CG Image through Real Shadows of Objects Considering Their Color and Motion for Creating Ikebana Contents." In 2019 IEEE 8th Global Conference on Consumer Electronics (GCCE). IEEE, 2019. http://dx.doi.org/10.1109/gcce46687.2019.9015410.

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