In March 2025, I had the opportunity to attend the Southeastern Ohara Chapter’s Spring Seminar in Greer, South Carolina. One of the highlights for me was creating a Bunjin-cho arrangement under the expert guidance of Sub Grand Master Jose Salcedo.

The term Bunjin-cho refers to a style inspired by the Chinese literati—poets, artists, and scholars—of the 17th and 18th centuries. These individuals expressed their connection to nature through poetry, paintings, and flower arrangements that felt deeply personal and contemplative. Their aim wasn’t to follow formal rules but to convey a mood or moment—an aesthetic sensibility rooted in art and scholarship.

In my own Bunjin-cho arrangement at the seminar, I used a tall Chinese-style vase placed on a burl wood display board. The composition featured:

• Two branches of Camellia sasanqua
• Two twisted contorted quince branches
• A live Phalaenopsis orchid plant

To reflect the spirit of a scholar’s study, I added an antique opium pipe and a cluster of dried tree mushrooms to the base. These elements weren’t chosen at random—they help convey the mood of the piece, evoking a sense of stillness, time, and quiet reflection.

Bunjin-cho is not about following set rules. It values unusual combinations, seasonal surprises, and natural elegance. The technique should be nearly invisible—what matters is the relationship between the materials and the story they tell. As described in Ohara School literature, it is “the art of artlessness,” where beauty arises from restraint and simplicity.

Headmaster Houn Ohara introduced this style to the Ohara School, honoring the literati tradition while giving it new life within ikebana. Arrangements are often displayed with accessories like inkstones, calligraphy brushes, natural stones, or fungi—objects that might be found on a scholar’s desk.

A Note on Symbolism in Bunjin-cho

In the literati tradition that inspired Bunjin-cho, flowers and plants were more than decorative—they were imbued with meaning. Combinations of materials often conveyed seasonal associations, moral values, or the character of admired individuals.

These symbolic pairings appeared not only in flower arrangements but also in paintings and poetry. Today, they still offer inspiration for ikebana practitioners seeking to create compositions with depth and resonance. A few classic examples include:

• Pine, Bamboo, and Plum – The Three Friends of Winter, symbolizing resilience, perseverance, and enduring friendship.
• Plum, Orchid, Bamboo, and Chrysanthemum – The Four Gentlemen, representing integrity, humility, flexibility, and perseverance.
• Orchid, Lotus, Plum, and Chrysanthemum – The Four Loves, a poetic tribute to beauty admired by scholars and poets.
• Tree Peony and Rose – Prosperity and eternal youth.
• Chrysanthemum – The flower of hermits, symbolizing quiet strength and noble character.

These combinations invite us to go beyond the visual. When we create or view a Bunjin-cho arrangement, we can ask not only how it’s arranged—but also what it’s saying.

Sources and Inspiration:

• Bunjin-cho handout by Sub Grand Master Jose Salcedo, Southeastern US Ohara Spring Seminar, 2025
• Bunjin-cho booklet, Ohara School of Ikebana
• Ikebana Seasons Study Plans: Facts and Fantasies by Martha P. Neese, Sub Grand Master, Ohara School (July 1985)
• “The Four Gentlemen.” The Metropolitan Museum of Art, https://www.metmuseum.org
• “The Three Friends of Winter: Resilience in East Asian Art.” Freer Gallery of Art and Arthur M. Sackler Gallery (Smithsonian)
• Kuitert, Wybe. Themes in the History of Japanese Garden Art. University of Hawaii Press, 2002. (Chapters on symbolic flora in Chinese and Japanese culture)

‍

Joe Rotella

‍‍Associate Second Term Master

‍‍Ohara School of Ikebana