There is strong evidence that floral art in the simple form originated in the Pre-Aryan period.The word Puja in Hinduism was derived from the Dravidian "Pu" meaning flower and when conjoined with "Ja" meaning ritual where flowers, leaves, and fruits are offered to the Gods. The main reason for the slow development of Indian floral art was that the flowers in our country are of ephemeral variety and don't last long in vases due to our unique weather conditions, contrary to the flowers in the west and in Japan. Indian floral art is distinct and much different, such as, floral garlands (photo) floral Alpana (photo), floral decorations on the floor with floral ornaments (photo) and "PhoolShojya" (photo), floral decorations during the nuptial night are some of the different ways in which Indians have tried to develop floral art.
In Rig Veda, flower is mentioned as “Bramhaiba Pushpam ta Amrita Aa’ (Chandyoga 3.5.1). This means that flowers were used at that period in three ways- “Pushpavaran” (floral ornamentation), “Pushpanivedan” (floral offering) (photo)and Ghatasthapam” (placing water in a vessel along with leaves, fruits and flowers to help in channeling concentration during meditation. Flowers placed in the “Ghat” (vessel) Flowers were symbolic, Hibiscus was used to worship “Shakti” (Dynamic energy of the Universe); white flowers are offered to “Shiva” (Dormant energy of the universe); Lotus always symbolized the Goddess of Wealth. Regardless of which God was worshipped, the “Purna Kalas” or the “Purna Ghat” was used as a symbol of Universal Force.
The Kalpa-Taru (Wish granting Tree) sculpture of Besnagar(300 B.C.) proves that tree-worship was carried on under Buddhist patronage. Intricate bamboo and cane design styles developed during this period and can be still seen in cane weaving of present days. In Buddhist sculptures at Sanchi, Bharut, Amaravati (between 200 B.C. to 200 A.D.) (photo) and other less known archaeological remains, flower decoration motifs can be found. In some of them either lotus or water-lily or both can be seen with their leaves and buds. (See Purna Ghat motif) The vase is either Ghat or kalasa kadamba with wild sun flower and mango leaves, placed in it. These ghat-motifs in Buddhist monuments show the Brahmanical idea of Purna Kalasa symbol was followed by the Buddhist priests. The significance of the Ghat designs is immense, it indicates that the basic idea of Ikebana Art of Japan is an outcome of the ritual of placing Purna Kalasa to pay respect to Buddha. Buddhism was influenced by tree-worship as well as the Ghat-ritual from Hinduism. Scriptures indicate that around 250 B.C., Prince Mahendra son of Ashok, went to Sri Lanka with Bodhi Tree sapling. The wooden beam from Niya (Central China) at the National Museum in Delhi and pictures of Bukka Style arrangement of Japan clearly show the Ghat-ritual.
Buddhist Sculpture from China Western Wei Dynasty (535-554 A.D.) use similar symbolic use of Ghat as seen in Sanchi Stupa.
One of the pillars of the ruins of atemple that was used to build Qutbshahi Mosque has a “Ghat with flowers at the base”.
n Vatsayana’s Kama Sutra, it is mentioned that floral decoration art, amongst the list of sixty four art is an item of womanly accomplishment. In writings of Kalidasa, we can see, to what extent people were aware of floral beauty in their various usage. Spring festivals were held with great pomp and gaiety and flowers and foliages were used in abundance for decoration. In the murals of Ajanta Cave, one can see the love for floral beauty in that period.. In Vaishnab Padabalies “Basak Sajya” and “Kunja” decorations are described with vividly.
The Muslim period (13th century A.D. onward) there was a remarkable turn in the floral art with introduction of quite a few long lasting Himalayan flowers (rose, oleander, anarkali, narcissus etc.) in the gardens of India. Abul Farzi wrote in A-IN-I-AKBARI that gardens and flower beds were plenty in India. Formerly, people used to plant their trees and shrubs haphazardly, but since the time of the arrival of Emperor Babur in India, a more methodical arrangement of the gardens was observed. Farzi also wrote that it would be impossible to give an account of all the trees of this country whose flowers, fruits, buds, leaves, roots, etc. are used as food or medicine. He did however mention names of twenty one flowers well known for their sweet scent and in another list twenty nine beautiful-looking flowers. Again, we can see, he tried to describe trees, shrubs, and creepers of India and the list comprise of forty five names. The Moghuls not only introduced a few long lasting Himalayan flowers in their formal gardens in Indian plane,but also introduced different types of vases and bowls for flower arrangement. Narrow-necked tall vases of Persian origin are more suitable for Indian climate to keep flowers fresh for long periods. Flower vases were kept in corners and on trays with decanter and glass. Some time more than one flower vase was used when serving food on the carpets. Some of the vases had flowers only, some had fruits along with flowers, and some had decanter filled with flowers. Examples of flower arrangement of those days can be found in architectural remains of Delhi, Agra, and Fathepur Sikri. From beautiful stone-in-lay works, on walls of Sheikh Salim Chisti’s tomb at Fathepur Sikri and Itmad-ud Daulah’s tomb in Agra, one can look closely at the flowers and vases’ colors and shapes. Here two pictures taken from the latter monument will illustrate the variety flower decoration of those days. The artistic touch of Queen Nur Jahan helped to make this monument one of the finest example of stone-in-lay work of the Moghul period. All the designs had to be approved by the Queen before execution The picture taken from the inner wall of the tomb shows different types of flower arrangements- on left side a tall vase on a table with three roses, in the central arch three tall vase arrangements and six small arrangements in bowls. They are arranged either in symmetrical or in asymmetrical design with roses, lilies, narcissus, iris, and poppies. The other picture taken from outer wall shows a simple symmetrical arrangement with narcissus. Designs on vase, decanters, and glasses are in total harmony with nature.One can also see flower arrangements with grapes and apples also there. Fountain or a water course running from one end of the palace to the other end were strewn with rose and jasmine flowers to fill the air with a sweet smell. For festive occasions, flower carpets were made out of leaves and flowers to give a colorful effect.
The Mughal period gave a new dimension to the existing floral art. They introduced a number of new varieties of flowers like narcissus, oleander, and roses in the gardens. These flowers had the added advantage of surviving longer than the indigenous blooms. Mughals planned several gardens all over the empire. They replaced the informal naturalistic plantation of trees and shrubs into well organised gardens. The contemporary Hindu culture too contributed to the floral culture. In the Amber Fort in Jaipur, vases of various shapes and sizes were used. The inlay work and the paintings on the pottery depicted local designs and themes. This also substantiated that the locally made vases from Jaipur were an unique blend of the “Ghat” shaped base with the neck of the vase taking the Persian form. The Ganesh Pol Gate in the Amber Court Palace shows the various ways the nobles and kings preferred to decorate their mansions and palaces with either fruits and flowers or only fruits or flowers. The Amber Palace epitomizes the lavishness indulged by the rich. There were fountains with intersecting water-courses strewn with jasmine, rose, and lotus to freshen the the surrounding atmosphere in the hot season. On festive occasions, floral carpets, chandelier type of suspended floral arrangements, decorative large fans, were seen in the temples and in the royal houses to create a colorful atmosphere to match with the mood of the festive occasions.
At the end of medieval period, explorers from European countries vied from each other to discover new routes to far away countries in quest of adventure and advancement of knowledge. On their route of journey to various less known lands, they helped introduce new variety of flora to different regions of the world and thus, enriched botanical specimens of the country they visited. Under proper care and better local conditions, wild flowers and shrubs grew vigorously in parks and gardens of Europe, America, and Asia. These plants and flowering shrubs were long-lasting and enduring. The Dutch, French, and the English had contributed much to introduce Western style of arrangements. In the 19th century, along with the gradual acceptance of Western thought and idea by the Indians, their floral art also found place in the rituals and social functions. In India, Ikebana, however, was not that well known, perhaps the main reason for this was that there was a lack of communication from the exponents of Ikebana to the people of the West. In India, Ikebana was first introduced in Vishwa Bharati University (Santiniketan), in the first part of the 20th century.
In India, a few more long lasting flowering shrubs and trees were introduced in this process. With the coming of the Dutch, French, and English Western style of floral decoration came into vogue in India. At the end of the 19th century, the western style of floral art was prevailing fashion on a societal level, for rituals and social functions, usual Indian style of flower decor was there. Ikebana was introduced in India first at Santiniketan. But it was after the Second World War people outside of Japan became aware of Ikebana art with the help of a few English speaking teachers and American army personals who stayed there. The rich heritage of Ikebana, its beauty, its subtility soon captured world admiration and India was not an exception.
