is the oldest and largest school of ikebana, the Japanese practice of giving plants and flowers invigorated new life.
The Buddhist practice of Ikenobo has existed since the building of the Rokkaku-do temple. The actual organized school institution was founded in the 15th century by the Buddhist monk Senno. The school is based at the Rokkaku-dà  temple in Kyoto. The name is derived from the word combination of a pond (ike) where Prince Shà Âtoku (èÂÂ徳太åÂÂ) had originally bathed while looking for the Rokkaku-do temple building site and the small hut built near the pond for subsequent priests to live in (bo).
The custom of placing flowers on the altar began when Buddhism was introduced to Japan by way of emissaries to China in about 538. In Japan people tried to give deeper meaning to the thoughts accompanying flower arranging. In other words, they wished to arrange flowers (tateru, to place, to give new life, to place in a standing manner), rather than casually placing them in a vase. An earlier attitude of passive appreciation developed into a more deeply considered approach. Early forms of Ikebana referred to as tatehana were arranged.
The Rokkaku-dà  in Kyoto is the site of the birth and earliest development of ikebana. The name Rokkaku refers to the hexagonal shape of the temple. Rokkaku-dà  temple was founded by Prince Shà Âtoku in the 6th century to enshrine a Nyoirin Kannon Bosatsu, the Goddess of Mercy.
Near a pond (ike) where Prince Shà Âtoku bathed, a small hut (bà Â; priest's lodge, monk's living house attached to a Buddhist temple) was built and became the home of succeeding generations of Buddhist priests. This gave rise to the name ikenobà Â. In the temple grounds, one stone is called Heso-ishi. It means "bellybutton stone". It is said that it was the foundation stone of the original temple. Because this temple existed before the transfer of the national capital to Kyoto in 794, it has been claimed to be the center of the city.
In the Heian period (794âÂÂ1192), apart from altar offerings, the practice of enjoying flowers displayed beautifully in a vase became popular. Poems, novels and essays from that time contain many passages that describe the appreciation of flowers used in this way. 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.
According to a 15th-century manuscript, two of the most popular flower arrangers of the time were ikenobà  master Senkei and Ryu-ami, a tea master. 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 Kanshà  era (1462), Unzen Taigyoku wrote, âÂÂat the invitation of Shunko, Senkei made a floral arrangement in a golden vase and denizens of Kyoto with refined tastes vied to see his workâÂÂ. This written record marks the starting point for 550 years of recorded ikebana history. 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.
From the late Kamakura period to the Muromachi period (late 13th -16th century), flower arranging contests were held at the imperial court on the day of Tanabata (the festival of the star Vega, the seventh day of the seventh lunar month). These contests were called Tanabata-e . Aristocrats and monks vied with each other in demonstrating their skills, offering flowers in honor of the festival.
Use of the family name Ikenobà  was granted by the Emperor of the time. Succeeding generations of head priests of the temple used this name.
Toward the end of the Muromachi period the earlier simple way of setting flowers in a vase developed into tatehana (tateru, standing; hana, flowers), a more complex style of ikebana. During this period the oldest extant manuscript of ikebana (Kao irai no Kadensho, 1486) and the famous manuscript about ikebana by Ikenobà  Senno (Senno Kuden, 1542) were written. Senno, the founder of Ikenobà  kadà Â, originated ikebana that was imbued with meaning (kadà  or way of Ikenobo flowers). Previously, tatehana had more of a connection to the spiritual practice of Yorishiro.
The Azuchi-Momoyama period (late 16th century) brought a renaissance in ikebana as part of a cultural renaissance. Two Ikenobà  masters named Senkà  I and II, completed the rikka (ç«Âè±) style (also meaning standing flowers, but with more complexity than tatehana) and Ikenobà  reached a high point of its early history. Paintings depicting the rikka of Senkà  II, a famous master of ikenobà Â, are preserved at the Manshuin Temple in Kyoto, the Yomei-bunko library of the Ninnaji Temple in Kyoto, the Tokyo National Museum and the library of ikenobà  headquarters. The arranging of rikka as a style with severn main parts later developed into the modern standard nine part rikka (shin, soe, uke, mikoshi, nagashi, doe, hikai, maeoki, and shoe-shin) was established at this time.
After Senkà  II died, rikka gradually became more complex and mannered. The birth of the shà Âka style of ikebana brought new interest into the world of ikebana. After his death, an at times violent feud broke out between his two main disciples Daijuin Ishin and Anryà «bà  Shà «gyoku about the direction of the school.
Nageirebana (æÂÂå ¥è±), a more informal style of arrangement, had been practiced even during the earlier period when rikka was developing. Nageirebana was a style of decoration for the zashiki, while rikka, the most formal style, was used for rites and ceremonies. The townspeople favored nageirebana, which presented the natural beauty of flowers without complicated rules.
In 1684, Toichiya Taemon, a merchant, wrote the Nageire Kadensho (How to arrange flowers in Nageire style), and in 1697, Kodai Shà Âka Zukan (Collected Paintings of Historic Shà Âka Works) by Ikenobà  Sen'yà  was published. Nageire influenced the development of early work in the shà Âka (çÂÂè±) style. Shà Âka at this time was very simple. Only two main branches (or flowers), one of which was called in (negative) and the other yo (positive), were used in arranging the work. These would later develop into three main parts, called shin, soe and tai.
The shà Âka style developed over a long period, with many schools of ikebana other than Ikenobà  appeared. Shà Âka was firmly established in Ikenobà  Senjo's work Soka Hyakki (One Hundred Examples of Ikebana, 1820). He also edited Heika Yodo-shu, in which the traditional methods of rikka were described in detail.
In the Meiji era (1868âÂÂ1912), Ikenobà  Senshà  set down the regulations of shofutai shà Âka, shofutai meaning orthodox or traditional style. Mannerism again began to appear. Efforts to break away from mannerism were not successful until the Taishà  era (1912âÂÂ1926). The styles of modern nageire and moribana and modern styles of shà Âka were the result. These styles were influenced by the importation of European culture, beginning during the Meiji Restoration (1868).
Shimputai, a new style of shà Âka, developed in 1977 by 45th generation Headmaster Ikenobà  Sen'ei, presents a bright, modern feeling. Two main parts, shu and yo, respond to each other with contrasting yet harmonious qualities. A third part of the arrangement, , is often added as a finishing touch. Following a period of development of shimputai the new principals were also applied to Rikka and Rikka Shimputai has become popular in the twenty-first century.
Jiyà «ka is the free style. Although any kind of material and vessel may be used, certain guidelines should still be observed to give the arrangement a sense of balance and effect.
There are three main recognised styles (æ§Âå¼Â):
The position of iemoto, or headmaster, has been hereditary in the male line in the Ikenobà  family for centuries.
Sen'ei Ikenobà  is married to Yasuko Ikenobà Â. While they have several sons, their oldest child Yuki (æ± åÂÂä¿ÂÃ¥ÂÂ, b. 1965)) currently officially the Headmaster designate, will become the next headmaster under the name Ikenobà  Senkà  IV (Ã¥ÂÂ代ç® æ± å å°Â好), breaking with the previous tradition that only a son can be named as successor to be head priest at the temple.
The dà Âjà  is located next to the temple and is a two-storey structure built in the traditional style. It holds mainly exhibition space laid out with tatami mats and shoji sliding doors. Around it is a small water pond and garden. It has a large auditorium on the main floor and the museum is located there as well. 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. Chapters exist throughout the world.