Ikenobō

Ikenobō (池坊) is the oldest and largest school of ikebana, the Japanese practice of giving plants and flowers invigorated new life.

[citation needed] The custom of placing flowers on the altar began when Buddhism was introduced to Japan by way of emissaries to China in about 538.

Rokkaku-dō temple was founded by Prince Shōtoku in the 6th century to enshrine a Nyoirin Kannon Bosatsu, the Goddess of Mercy.

In the Heian period (794-1192), apart from altar offerings, the practice of enjoying flowers displayed beautifully in a vase became popular.

In the early 7th century Ono no Imoko, a former Japanese envoy to China, became one of the first Buddhist priests at the Rokkaku-do and started placing flowers at the temple.

Unzen Taigyoku, a monk belonging to a Zen Monastery, first recorded the name Senkei in his journal called Hekizan Nichiroku.

In an entry dated February 25 of the third year of the Kanshō era (1462), Unzen Taigyoku wrote, “at the invitation of Shunko, Senkei made a floral arrangement in a golden vase and denizens of Kyoto with refined tastes vied to see his work”.

Additional historical documentation of Senkei’s work includes only one entry, on October 2, in the Nekizan Nichiroku journal describing how moved he was by the extraordinary beauty of chrysanthemums.

After his death, an at times violent feud broke out between his two main disciples Daijuin Ishin and Anryūbō Shūgyoku about the direction of the school.

Nageirebana (投入花), a more informal style of arrangement, had been practiced even during the earlier period when rikka was developing.

Shōka was firmly established in Ikenobō Senjo's work Soka Hyakki (One Hundred Examples of Ikebana, 1820).

Shimputai, a new style of shōka, developed in 1977 by 45th generation Headmaster Ikenobō Sen'ei, presents a bright, modern feeling.

There are three main recognised styles (様式): The position of iemoto, or headmaster, has been hereditary in the male line in the Ikenobō family for centuries.

It holds mainly exhibition space laid out with tatami mats and shoji sliding doors.

It also contains exhibition space and classrooms and serves as a centre for communication, studies, and workshops for teachers and students, and a coordination point for local chapters or those wishing to found a new one.