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Ikenobo and the Rokkakudo Temple

The Rokkakudo Temple is located southeast of the intersection of Karasuma and Sanjo streets in central Kyoto, and is formally known as Shiunzan Chohoji. The name rokkaku refers to the hexagonal shape of the temple (do). The Rokkakudo was founded by Prince Shotoku to enshrine Nyoirin Kannon, the Goddess of Mercy. Near a pond (ike) where Prince Shotoku bathed, the small hut (bo) of succeeding generations of Buddhist priests gave rise to the name Ikenobo. The Rokkakudo is the site of the birth and development of ikebana. The custom of appreciating flowers in a vase probably dates back almost to the birth of the human race. Involved in this custom is the human characteristic of loving and adoring the beautiful. In this regard, there is no difference between East and West. In Japan, however, arranging flowers has been carefully considered as the art form and, indeed, way of life called kado (ka, flower; do, way or path). 

IIkenobo Ikebana is the Pinnacle of Sophistication, Elegance, Style and Taste.

Ikenobo Ikebana is the art of Japanese flower arranging.  The origins of Ikebana and Ikenobo date back over 550 years and are deeply entwined with the artistic history of Japan. Ikenobo is the original and largest Ikebana school with over two million members.  The headquarters of Ikenobo remains at the place of its founding, the Rokkakudo Temple in Kyoto, Japan.  The temple is well known as the Eighteenth Secret Site of the Buddhist Pilgrimage in Western Japan.  From the beginnng, the spirit of Ikenobo Ikebana has come down to us through a continuous generational line of Headmasters. 

The Ikenobo Ikebana Society of American was founded in July 1970 by Sen’ei Ikenobo, 45th Headmaster.  The vision of Ikenobo is to stay true to the past and to keep growing to advance into the future.  At Ikenobo we learn the arranging secrets from ancient times and apply those precepts to our contemporary flower designs.   For sophistication and elegance no one can match Ikenobo. 

Ikenobo is Dynamic !  While Ikenobo can represent some of the purest forms of traditional Japanese flower arranging, Sen’ei Ikenobo has also expanded Ikenobo into the 21st Century by transmuting traditional principals embodied by Ikenobo into State-of-the–art fresh floral compositions far beyond the abilities of any other school.  Ikenobo’s new styles, collectively called “Shimputai”, now transcend the ordinary world of flower arranging and propel the designer into the Post-Modern world of cutting-edge floral interpretation.   We invite you to become a part of this profound artistic movement and join Ikenobo Colorado..

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Colorado Chapter Pine Contribution for the Exhibition at the Fairmont Copley Plaza, Boston, 550th Anniversary Celebration USA
Boulder, CO
Exhibition Photos on Page 3.
Rokkakudo Temple

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Save the Date
Next Workshop : Rikka Shimputai
Exploring Modern Rikka
December 11, 2015
  Koelbel Library, Denver


Special Private Study Tour
Ikenobo Headquarters, Kyoto, Japan
April 11- 22, 2015
Senko II Pine Rikka
Sunanomono Lessons with Professor Kurata
Senko II Sunanomono
Crane and Tortoise
Enchi-ike with Professor Miura
Setsugekka with Professor Miura
Futakabu Shimputai
Kakitsubata Rikka
Basho Shoka with Professor Miura
Kakitsubata Rikka Lesson with Professor Tsuchiya
Cherry Futakabu Rikka with Professor Tsuchiya

Tatehana with Professor Kurata
Group Photo with Headmaster Designate Yuki Ikenobo

Headmaster Visit and Special Member Workshops in Houston, Texas
May 28 to 31, 2015
Sen'ei Ikenobo
Sen'ei Ikenobo Demonstration
Reishiki-ike Ceremony
Reishiki-ike Ceremony Crane and Tortoise
New Rikka Curriculum Lecture
Freestyle by Marita
Freestyle by Senior Professor Muriel Scrivner.
Yuki Ikenobo

Special Sunanomono Workshop, June 28th and 29th
San Francisco Headquarters

Visiting Professor from the Ikenobo Institute, Kyoto , Japan, Special Two-day Workshop
August 28 and 29, 2015. Denver.
Senior Professor Masayo Takenouchi
HARMONY, an arrangement by Sen'ei Ikenobo - 45th Headmaster
"Each leaf has its own size and shape.  Their attributes also vary.
When these variations coexist in nature, we experience the plant as a whole.
Yet when we take one leaf of the plant in our hands, we tend to use it according to its individuality,
forgetting that the leaf was living as part of the whole in nature.
Plants change their colors with the season.
It is a surprisingly workderful synchronism.
Combining different materials together in harmony, to keep such synchronicity is important."

From the General Theory of Shimputai, Sen'ei Ikenobo, November 11, 2015.