Stereo photo collection of 100 vase flowers by Nageire Moribana #日本ステレオ伝 005

Written by Rosyu Kobayashi, published by ‘ Fumonkan(普門館), January 5, 1917 (1917).

• 投入 Nageire — Wikipedia https://bit.ly/3VIXukK

• 盛花 Moribana — Wikipedia https://bit.ly/3KNsV7h

Photo 1
Autograph of His Majesty the Emperor
*Emperor Taisho
Photo 2
Large Chrysanthemum
(page 1–3)
self-introduction
Since ancient times, the preservation of floral forms in hanamichi has been done mainly through the use of paintings, but in recent years, the use of photographs has become a welcome phenomenon. However, when I look at this photograph, I cannot help but feel the loneliness in the shape of the branches. This is because, although the floral forms are usually splendid when seen with the naked eye, the use of a single lens to photograph them makes the branches reflected on the glass surface of the dark box look unsightly, as forbidden by the ancients, with their crossed-out characters, height comparison, overlapping of leaves, etc. Therefore, the inserters have decided to use a photo of a flower in such a way that the viewer can see the flower’s shape and appearance. Therefore, in order to avoid such defects, the photographer may unintentionally cut the branches too hard or brush off the leaves in order to get good results, and as a result, the important body of the floral form is lost and the true beauty is lost. I was concerned about this, and struggled for several years to find the best way to photograph the flowers. Here, I suddenly came up with the idea of a Stereo Photography machine. I immediately purchased this machine in 1902 and tried it out. Therefore, it can be said that this is a perfectly flawless photographic machine that can photograph flowers as they are after they have been arranged in a normal way. This was explained in the February 1916 issue of “Kokufu,” a magazine for this field, Vol. 5, №2.
In 1838 A.D., the Englishman Wheatstone (Wheatstone) first invented one consisting of two plane mirrors placed at right angles. (Omitted.) Later, in 1849, an Englishman named Brewster invented a Stereo mirror that used lenses. This is what is done today and is shown in the second figure. (Omitted below.)” (Encyclopedia of Japan)
In December 1915, he wrote a pamphlet titled “Nyosei to Moribana” (Input and Flowers). However, readers were not satisfied with it and strongly requested the publisher of the book, the owner of the Shinbunkan, to publish a pamphlet with more floral forms than the previous one. The owner asked me to write 100 new books on floral forms, which took about a year to complete. I spent about a year to take photographs of the natural beauty of the plants and trees of the four seasons, mainly using the Stereo Photography Camera mentioned above, and I applied the various shapes to each vase so as not to spoil their characteristics and appearance. If a beginner can assist in the study of this path, I will be more than satisfied. I would like to express my gratitude to Dr. Toshitaka Ogasawara(小笠原利孝), Dr. Kunitaro Sakai(酒井国太郎), and Dr. Masumi Tokoro(所真澄) for their assistance in editing this book, and to the members of Wago Kai(和合会), Toka Kai(十日会), and Seisuikai(青翠会) for their generosity in facilitating my efforts.
December, 1916
Author’s note
(page 4–6)

Legend

The autograph of His Majesty the Emperor of Japan at the beginning of the booklet is a respectful copy of a supplement to the Osaka Asahi Shimbun newspaper.
The plants and trees in this book are arranged in seasonal order from January to December. However, flowers blooming in the greenhouse are arranged in a different seasonal order.
It is convenient to read the explanations in this figure with one eye while holding the accompanying Stereo Glasses over your eyes.
Due to the limited space available for the explanations in this book, long descriptions have been omitted, and the omitted parts mentioned above are given in the same species with shorter descriptions.
When photographs are taken in this book, if the harmony between the flower and the container is not ideal, the fault is compensated for in the explanation.
In the explanations in this book, the word “ike” is used for flower arrangements that are similar to school-style flowers, the word “iri” is used for insertion, the word “insert” is used for kagebana, shikko-hana, teasebana, bonbana, dokurakubana, shinshiki moribana, etc., and the word “moriru” is used for flower arrangement items to differentiate them.
The plants and trees used in the photographic plates in this book are mainly those that are commonly and commonly used, avoiding rare and unusual species.
Even if some of the plants and trees used in the floral illustrations in this book are of the same species, their floral forms are all varied. These variegated forms can be applied to other plants and trees. Since both large and small flowers of the actual species were photographed on a constant photographic plate, the actual size of the flower shape is left to the reader’s judgment.
In the flower diagrams in this book, the branch tips of flowers that appear to be crossed out, compared in height, etc., can be clearly identified by using Stereo Glasses.
The colors of the flowers of each plant are different from those in the photographs, so it is helpful to compare them with the actual flowers. For example, purple is white, peony and yellow are the same color as the leaves, red is black, etc.
In some of the flower diagrams in this book, the body of the flower appears large in relation to the vase, but this is also the case when viewed through a Stereo Glasses.
The way to stop plants and trees in each vase varies according to the thickness and length of the branches or the changes in the vessels, so each method is appended.
The selection of plants and trees whose names you are already familiar with should be based on the index attached at the end of the book.
The illustrations in this book are by Unkei Suzuki(鈴木雲溪), and the photographs are by Kosei(香生), the owner of Hokushinkan(北信館).
(page 1–6)

Stereo photo collection of 100 vase flowers by Nageire Moribana Table of Contents

Usage of Stereoscopes and Ad hoc Procedures — page 1

First Law — page 1
Second Law — page 2
Third law — page 2
Fourth law — page 3
Caution — page 3

Vine spring-loaded from the top of the form — page 4

A — left roll — page 4p
B, left hand side — page 4p

Position of the insertion method — page 5

100 vase flowers description

Photo 1: Pine — page 6
Photo 2: Plum, Spring Orchid — page 9
Photo 3: Pine, Senryou — page 10
Photo 4: Viburnum, Leaf Peony, Spring Orchid — page 13
Photo 5: Pine, Camellia — page 14
Photo 6: Plum, Camellia — page 17
Photo 7: Pine, Spring Orchid — page 18
Photo 8: Daphne, Leaf Peony — page 21
Photo 9: Hirado, Curved Tube, Spring Orchid — page 22
Photo 10: Camellia — page 25
Photo 11: Andromeda — page 26
Photo 12: Peach, Rapeseed — page 29
Photo 13: Ibuki, Andromeda — page 30
Photo 14: Pine, Adonis — page 33
Photo 15: Aoki, Leaf Peony — page 34
Photo 16: Higan Sakura — page 37
Photo 17: Pine, Camellia, Snow Willow — page 38
Photo 18: Magnolia, Fritillaria — page 41
Photo 19: Sakura, Rapeseed — page 42
Photo 20: Pine, Camellia — page 45
Photo 21: Snow Willow, Yellow Lotus, Anemone — page 46
Photo 22: Peach, Ibuki, Rapeseed, Higan Sakura — page 49
Photo 23: Green Leaves of Renge Azalea, Garden Daisy — page 50
Photo 24: Quince, Spring Orchid, Bougainvillea, Kinkwakwa, Fritillaria — page 53
Photo 25: Kakitsubata — page 54
Photo 26: Muro, Kakitsubata — page 57
Photo 27: Unzen Azalea — page 58
Photo 28: Green Leaves of Renge Azalea, Anemone — page 61
Photo 29: Wisteria — page 62
Photo 30: Yamabuki — page 63
Photo 31: Higan Sakura, Kakitsubata — page 66
Photo 32: Yamabuki — page 69
Photo 33: Yabu Hagi, Garden Daisy — page 70
Photo 34: Ito Hiba, Geranium — page 73
Photo 35: Sakura — page 74
Photo 36: Wisteria — page 77
Photo 37: Garden Plum, Peony, Garden Daisy — page 78
Photo 38: Sakura, Camellia, Hyacinth — page 81
Photo 39: Maple, Peony — page 82
Photo 40: Wisteria — page 83
Photo 41: Pine, Rose — page 86
Photo 42: Sakura — page 89
Photo 43: Koji Maki, Peony — page 90
Photo 44: Young Leaves of Yamazakura — page 93
Photo 45: Reed — page 94
Photo 46: Yamabuki, Peony — page 97
Photo 47: Pine, Shaga — page 98
Photo 48: Koji Maki, Magnolia, Rose — page 101
Photo 49: Koji Maki, French Daisy — page 102
Photo 50: Maple — page 103
Photo 51: Azalea — page 106
Photo 52: Koji Maki, Peony, Hawthorn — page 109
Photo 53: Tai, Kakitsubata — page 110
Photo 54: Wild Rose, Medake — page 113
Photo 55: Maple — page 114
Photo 56: Boxwood, Bad Grass, Wild Rose, Azalea, Willow, Pine, Shishi Garlic, Fern, Shoujiaou Bakama — page 117
Photo 57: Peony — page 118
Photo 58: Amaryllis — page 121
Photo 59: Fern, Garden Daisy — page 122
Photo 60: Peony, Koji Maki, Dianthus, French Daisy, Hawthorn — page 123
Photo 61: Pine — page 126
Photo 62: Shima Yoshi, Water Lily — page 129
Photo 63: Peony — page 130
Photo 64: Rose — page 133
Photo 65: Lilium Hyacinth, Gibbs Poppy, Ixia — page 134
Photo 66: Hydrangea, Oguruma, Sennou — page 137
Photo 67: Bad Grass, Hydrangea — page 138
Photo 68: Peony — page 141
Photo 69: Snow Willow — page 142
Photo 70: Amadokoro, Peony, Lilium Hyacinth — page 145
Photo 71: Sawdust, Trichosanthes, Duckweed — page 146
Photo 72: Satsuki — page 149
Photo 73: Morning Glory — page 150
Photo 74: Chrysanthemum — page 153
Photo 75: Lotus — page 154
Photo 76: Morning Glory — page 157
Photo 77: Snow Willow, River Carnation — page 158
Photo 78: Lotus — page 161
Photo 79: Bush Clover, Pampas Grass, Kudzu, Dianthus, Maiden Flower, Fujibakama, Balloon Flower — page 162
Photo 80: Bad Grass, Fern, River Carnation — page 165
Photo 81: Maiden Flower, Fujibakama, Summer Fruit, Hakusan Chrysanthemum, Bistorta, Balloon Flower, Bush Clover, Fern, Mitsukasa Tsurubana — page 166
Photo 82: Pine, Monkey Vine — page 169
Photo 83: Hamagiku — page 170
Photo 84: Pine, Maiden Flower, Bad Grass — page 173
Photo 85: Chrysanthemum — page 174
Photo 86: Sago Palm — page 177
Photo 87: Nandina — page 178
Photo 88: Omoto — page 181
Photo 89: Azalea, Yabu Kouji — page 182
Photo 90: Pine — page 185
Appendix: lotus-shaped flower stoppers — page 186
Index of botanical names — page 187

• End of table of contents, text to follow.

(page 1–3)

How to Use Stereo Glasses and Their Usage and Location in a Convenient Manner

The two identical photographs inserted in this book should be viewed according to the first method below. However, if you have lost your stereoscope, please use the second, third, or fourth method.

First method

The stereoscope attached to this book is attached to the left and right ears by putting a thin string through the small holes at both ends of the plate, tying the ends together to form a loop, and putting the loop over the right and left ears as you would put on ordinary eyeglasses. If you look at the right image of this photo to your right eye and the left image to your left eye, the two images will appear to be two different images. When the distance between the right eye and the left eye is adjusted to the person’s eyesight (farsightedness and nearsightedness), the two images become one. Especially for flowers arranged deep in the garden, the front and back of the branches clearly emerge, giving the impression of being at a flower show and seeing the real thing in front of one’s eyes. The author’s eyesight is normal, and the distance between his eyes and the picture is considered adequate at 4" and 5" on the scale.

The second method

Using two bamboo tubes (or cardboard) with an inner diameter of about 1.2 cm and a length of about 4 cm, and pasting the two tubes together with paper like ordinary binoculars, and viewing the right picture with the right eye and the left picture with the left eye as if looking through binoculars, the two pictures will match and become one if the person’s eyesight is adjusted to match. The author states that his eyesight is normal and that the distance between his eyes and the picture is reasonable on a scale of 1" to 2".

Third method

When the right picture is viewed with the right eye and the left picture is viewed with the left eye, a thin board or a piece of cardboard about 3" wide is used, the length of which is determined according to the person’s distance and near vision. The author has normal eyesight, and the distance between his eyes and the picture is set at 1" and 4" on the scale, which he considers reasonable.”

The Fourth Method

If you look at the right picture to the right eye and the left picture to the left eye, when you look at it closely, the first picture appears to be four, and when you look at it further, the two in the center of the four fit together and appear to be three. At the same time, as described in the first method above, the center one of the three appears almost as it is in real life, with the front and back of the branches of the flower clearly visible, just as in the stereoscope. However, it is not easy for beginners to obtain the effect of this method without practice. The author has normal eyesight and considers the distance between his eyes and the photograph to be 2' 1" on the scale to be adequate.”

Attention

When performing the first through the fourth methods, the photo album should be held directly in front of you in the direction the rays of light are coming from. It may be difficult to see if the photo album is placed in a place where it is shaken. The same applies to holding it in the palm of the hand.
If you are inexperienced in performing the first through the fourth methods, you should first look at the right image with your right eye and then slowly open your left eye, which has been closed, with one eye.

Vine winding from morphological view — page 4

A: Left-handed winding, left-handed turning
Figure
B. Right-handed winding, right-handed turning

Position of insertion — page 5

Orientation
Leftward Rightward
Forward
(page 6–7)

Photo 1 Commentary

This painting is titled “Miho no Matsubara”(三保の松原). A small pine tree is placed in a heap of sand to harmonize with the hanging scroll of Mt. The shadow of the pine tree on the wooden base of the moribon (tray for tray landscape) looks like an ocean field, while the sand feels like land. A tray with a low rim is suitable for this type of scenery because it looks wider. On the other hand, those with high edges should be avoided because they make the figure appear narrower.
To fix the pine tree, a small lotus-shaped flower stopper is used, corked, and sprinkled with static sand. The sand is then sprayed with misty water, and the pine tree will not wilt as long as it is moist. One ancient book refers to this kind of arrangement as “bonhana,” and another says, “Sand is added from the end of autumn, and in winter this is called bonkei.
(See also Figures 14, 79, and 86.)

• The commentary continues in Photo 90 (page 186)

(page 186)

Appendix: Lotus-shaped flower stopper

This flower stopper is made of tile, and each hole is round so that the branch can be inserted in one place and the tip spread out in all directions without slipping, allowing it to be held in place freely.

colophon

Printed January 2, 1917
Published January 5, 1917
Author Rosyu Kobayashi(小林鷺洲)
Publisher Eiji Yamada
3–1, Misaki-cho, Kanda-ku, Tokyo
Printed by Yaya Kanatsuna
108 Kugen-cho, Koishikawa-ku, Tokyo
Hakubunkan Printing Press
108 Kugen-cho, Koishikawa-ku, Tokyo
Publisher
3 Misaki-cho, Kanda-ku, Tokyo
Fumonkankan (普文館)
Telephone main office 1091
Bank transfer Tokyo 62

Rosyu Kobayashi Profile

Real name: Jihei Kobayashi
(Unidentified) Born in 1865 (Keio 1) Died in 1940 (Showa 15)
Trade name: Shin Kado Iemoto Rosyu(新花道家元鷺洲)
Official Gazette (1922 Taisho 11) https://dl.ndl.go.jp/pid/2955056/1/20
Address: Shimo-soshigaya 117, Chitose-mura, Fushita (1916205/1/182)
From Google Gemini(Citation source unknown)
Rosyu Kobayashi was a flower arrangement artist and flower arrangement researcher of the Meiji and Taisho periods.
* Born in 1865 (the first year of Keio)
* Died in 1940
* He devoted himself to the revival of “throw-in flower arrangement” established in the late Edo period (1603–1868), and his book “Nageiri-Morika” is regarded as one of the basic books of modern throw-in flower arrangement.
* He also authored many other books on flower arrangement and contributed to the development of the flower arrangement world.
Rosyu Kobayashi’s achievements include the following
* Revival of nageire moribana: The nageire moribana style, established in the late Edo period (1603–1868), had been in decline since the beginning of the Meiji period (1868–1912). Rosyu Kobayashi devoted himself to the revival of Nageire-Morika, and his book “Nageire-Morika” is regarded as one of the basic texts of Nageire-Morika in modern times.
* Promotion of Kado research: Rosyu Kobayashi collected and researched literature on Kado and compiled the results in his books. These books have contributed greatly to the study of the history and theory of flower arrangement.
* Dissemination of flower arrangement education: Rosyu Kobayashi established flower arrangement schools and taught flower arrangement to many people. He also held lectures and workshops on flower arrangement to popularize flower arrangement.
Rosyu Kobayashi was one of the leading figures in the world of flower arrangement in the first half of the 20th century, and his achievements are still highly regarded today.
The following materials on Rosyu Kobayashi are available.
* Books: “Introduction to Flower Arrangement,” “New Selection of Flower Arrangements,” “Essentials of Teaching Flower Arrangement,” etc.
* Research materials: “Studies on Rosyu Kobayashi” (by Fujii Sokan), “History of Flower Arrangement” (by Ando Masao), etc.