If one can given a dozen roses or carnations in a gift box, would probably place them casually in a vase. Grouped together this way, they are beautiful because the individual flowers are beautiful. But this casual placement of flowers is not an arrangement. These same flowers placed in a vase in a planned pattern take on a greater beauty. The flower arrangement then becomes a work of art.
There are certain guidelines that we can use called principles of design. These are basic laws, fundamental truths, or methods of operation that have been tested and proven by master artists for many countries. Good flower arrangements are judged by these principles.
In order to understand the principles of design, we need to look at the history of the art of flower arranging. Two different concepts of floral design developed independently of each other the occidental style-which evolved in Egyptian and Middle Eastern cultures and was further developed by the Europeans-and the oriental style-which began in China and was later explored by the Japanese.
During the Egyptian period (2800-28 B.C), people arranged separate rows of differently colored flowers in shallow bowls. An arrangement which typically decorated a feast taste consisted of fruits and vegetables neatly piled in low baskets. Several flowers were considered to be scared symbolizing the Egyptian gods and goddesses. Blossoms of water lilies and lotus were placed in elaborate vases, bowls and jars.
The ancient Greeks (600-146 B.C), limited by rituals and traditions did not arrange flowers in vases. During festivals and banquets, flowers were also scattered on the tables and even on the streets. Flowers were also used to make garlands and wreaths which were worn during special events and presented as awards to athlete, statesmen, and soldiers. The cornucopia or horn of plenty was first introduced by the Greeks. They placed flowers, fruits and vegetables in the cornucopia in an upright position rather than on its side as it is displayed today.
The Romans (28 B.C-A.D.325) continued the customs of the Greeks but the use of plant materials became more elaborate the Romans would scatter roses on banquet tables and on the floor. Scarves filled with blossoms were offered at an altar as part of Roman religious ceremonies. Wreaths and garlands became more elaborate.
During the Byzantine period (A.D.320-600), arrangements of cut flowers were again used. The major contribution of the Byzantine culture was formal conical designs with clusters of blossoms at regular intervals. We know very little about the floral designs during the middle Ages (A.D.476-1400), but those of the Renaissance (A.D. 1400-1600) are beautifully documented in paintings. Designs were large tall, pyramidal and symmetrically balanced. Flower arrangements were loose, uncrowded and airy. In the formal bouquets characteristics of this period, the most important flower was situated centrally at the top of the bouquet, with other flower heads turned outward.
Flowers were arranged so that they were about twice the height of the container. Intense colors were used to create a contrast with the white, plastered walls of buildings. Several traditional floral designs used today are styled after Renaissance arrangements. Arrangements from the Baroque period (A.D.1600-1775) began as symmetrical, oval shaped designs. Later asymmetrical curves in the shape of an S or a crescent were adopted. An abundance of flower types and colors were used together and arrangements incorporated a variety of accessories such as figurines butterflies. These curve and crescent arrangements developed during this period are popular today.
Flemish style (A.D.1600-1750 arrangements were beautifully captured by Dutch painters. Traditional Baroque styles were refined by the artist. These arrangements were not as loose and open as the Baroque style, but were better proportioned and more compact. Rich colors and an array of flowers were combined into massed oval shaped bouquets.
During this same period the French developed mass arrangements which were lighter and more airy than those of the Dutch. The arrangements were made from delicate flowers in pastel colors. The period between A.D.1714 and 1760 spanned the reigns of the English kings George-I and George-II so it is referred to as the Georgian period. The arrangements of the Georgian period were greatly influenced by the Chinese arts then appearing in England. Arrangements were symmetrical and usually triangularly shaped. Often a single flower type was used.
During the later years of the Georgian period, floral designs moved away from formality and symmetry. The nosegay or hand held bouquet because stylish. Small nosegay type bouquets placed in bowls were the first use of table center pieces as we know them today. Georgian art greatly influenced the decorative arts in colonial America Williams bury residents created fan-shaped and triangular arrangements and sometimes placed the center of interest near the rim of the container. Arrangements of boxwood magnolia and ivy were considered in the garden flowers in the summer. Berries, cones and greens with fruit were used during the winter along with dried flowers.
During the Victorian period (A.D.1820-1914), flowers were fashionable but floral designs were rather unappealing by today’s standards. Arrangements were improperly proportioned with large amounts of flowers cramped into a container to create a compact arrangement. These designs were usually asymmetrical with no focal point. So many different colors and flower types were used together that the entire arrangement often appeared unplanned.
Toward the end of the Victorian period, attempts were made to establish rules for flower arranging. The art of flower arrangement was taught by skilled designers. This helped to establish floral design as a professional art.
The oriental style of flower arranging actually began in India. Where Buddhist priests scattered branches and stems on altars or placed them in pottery urns as decorations. The practice was quickly picked up and modified by the Chinese priests during the first century A.D. they arranged the flowers was improper to place flowers carelessly on the altar, they created symbolic arrangements. Chinese arrangements were usually large and symmetrical with only one or two types of foliage and flowers placed around a central branch or main axis. Bright colors contrasting with the color of the urn were favoured the flowers having the lightest colors were used at the outer portion of the design. While darker ones were kept nearest the base.
Around the sixth century A.D. the Japanese adopted many aspects of the Chinese culture including that of floral arrangement. A Japanese Buddhist priest named kenabo, refined that art and ritual and his instruction was sought by other Buddhist priests. He is credited with having begun the first school of floral art in Japan, which bears his name Ikenabo. This school still exists Ikebano, which means “giving life to flowers”. Many other schools of Japanese flower arrangements have evolved from this original one, but the basic principles can be traced back to the teachings of the Ikenabo school.
The Japanese designs are characterized by minimum use of plant material and the careful placement of branches and flowers. Each placement has meaning as does the angle of placement (Fig 1.1). This type of design came to be known as line arrangement.
The European design was generally a large, round or oval mass of flowers. Flower placement was not rigidly dictated as in oriented design. The basic European floral designs have became known as mass arrangements. These designs were all similar in that large closely spaced flowers were located at the edge of the design. The designers used a wide variety of flower types and colors to create a massive display
Most floral design in the United States is referred to as “line mass” and combines oriental and European ideas. American floral design uses more materials than the oriental design, but for fewer than the European. Floral design in the United States is often built around linear patterns, further showing the oriental influence.
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