19th October 2019
Twelve member of the Study Group got together for the October meeting, demonstration and workshop.
Initially, there was much cheering and clapping as Bhuvana and Chitra Rajan were awarded their first and second grade certificates.
Then it was time for the demonstrations by our two senseis - Molly and Divya.
Sensei Molly did her first composition in a large bell metal kadai - this is a cooking utensil of olden times. The kadai was used as a container.
Two Coconut fronds - cleaned, sanded and painted orange mixed with gold dust inside. Kept erect as curved lines.
For Massed Expression, she then used hydrangea flowers. The arrangement was completed, with with silver Oak leaves, that added depth.
 | | Sensei Molly - Metal kadai container, with painted coconut frond, hydrangea and silver oak leaves. |
Sensei Divya began with a more horizontal composition. She used jasmine vine in a wooden container , the chrysanthemums and rafes palms completed the arrangement.
 | | A better view. Sensei Divya - palm, chrysanthemums and jasmine vine |
 | Sensei Molly used 5 bamboo stems of various lengths. 4 were bundled together with dry banana leaf stalks.
3 dry sunflowers were kept inside the bamboo to add colour. Slightly withered alocasia leaf was
used to match the color of the bamboo., while fresh variegated dracaena was used to add depth. |
 | Sensei Divya created a nagiere compositions with pandana grass, wild vine, branch of lemon tree,
halyconia stems with a small bunch of chrysanthemums |
Workshop arrangements
Only few members did arrangements.
 | Bhuvana's freestyle moribana - line and mass, with bamboo,
tube rose and chrysanthemums |
 | Chitra Rajan explored the theme of "Descent", using crab claw heliconia against fan palm with some
wisps of asparagus fern |
 | Luna wanted to incorporate a triangle in her freestyle arrangement to harmonize with
the shape of the container, suing yellow chrysanthemum as a contrast colour. |
 | Pushkala used a glass vase to do under water display. She used Babylon Blooms orchid and
bold Furcraea (Agave) and 2 leaves of Crinum sp |
September 20th 2019
Twelve members of the Study Group met at ABK for a demonstration cum workshop, with the twin themes of working with Glass Containers, and creating Celebration themes.
Sensei Trishala and Sensei Prerana both demonstrated one arrangement in each theme.
   | Sensei Prerana used two glass containers. The one at the rear was used to just add
more material and depth to the composition.
Therefore she used the gardener’s net to cover it from view |
 | Sensei Trishala wanted to complement the glass container. So she used orchids inside and out
in a minimalistic arrangement. |
 | For her festival arrangement, sensei Trishala used a glass container that was spray painted in gold.
The lilies and chrysanthemums add a festive feel, as also the gold painted leaf. |
 | Sensei Prerana’s Celebration arrangement had two nagiere containers.
She used the tall heliconias along with statis, wild berries, gypsophelia and a
handmade golden fan to make the composition colourful, bold and festive. |
It was on with the workshop. All the compositions turned out to be in glass vases, with many of them festive and celebratory, creating a twin-themed composition.
 | Bhuvana used a combination of dry branches, jerberas and
gypsofilia. |
 | | Chelvi used Jerbera, gypsophelia and casuarina in a pasta jar. |
 | Chelvi tried another composition as well. This time with
Lymonium, wild berries along with spring onions to complement the
shape of the glass jug, as also to use the inside of the vase. |
 | Chitra Rajan explained how she used "rain touched fresh flowers" from her garden ....
bleeding hearts and buds of Murraya tree along with white chrysanthemum,
red jerbera and baby's breath in a wine red glass container to show passion, romance and love! |
 | Chitra Thiagarajan used a small bark, pink oriental lily, berry stem and
yellow colour dracena to complement the green shaded crackling effect
on the glass container. |
 | Sensei Dalley imagined her composition with windows in the background, with the light streaming in creating light and
shade effect through her glass vases, mirroring the waves of her driftwood. |
 | Mala used dwarf Papyrus or Chinese papyrus as its popularly known,
a mass of green above and below, broken by a small mass of yellow. |
 | Sensei Meenu used copper wire and carried the lines upward using Bird of Paradise
in a glass container with no water. |
 | Sensei Malathi chose glass containers as we see so much of glass in our environment,
replacing wood and metal. She worked on Texture and Colour, it's hues and tints. |
 | Pushkala - The multicolor wires in two worls expressing joy, dance and a happy mood.
Red anthurium is added to express boldness in this celebratory creation. |
 | Pushkala - The green glass container having Palm leaf is auspicious during celebration.
Yellow and red jerberas add colour to the display.
Quisqualis gives little delicacy to the arrangement. |
 | It was good to see Roopa after many months, and she created this composition with green twisted palm leaves
and carnations. |
The next workshop is planned for October 19th at ABK Hall.
August 21st 2019
 It was close to a full house as we met for our August meeting. On the agenda were demonstrations by sensei Dalley on using branches in expression, and sensei Ambika on creating Ikebana to complement art. Chairperson Malathi made some announcements regarding our planned annual exhibition in 2020 January before the demonstrations. She welcomed new member Luna Bose, and also introduced two guests - Mrs Shashwathi Mukherjee and Ms Geetha - for the meeting. Sensei Dalley began with a Nagiere composition with distinct branches in a earthen coloured vase. The dramatic lines were complemented with large jerberas and a stunning crab's claw.
 | Sensei Dalley's composition with a beautful interplay of rust, brown and red, all
wonderfully balanced and harmonised. |
Sensei Ambika then demonstrated ikebana complementing art. A ceramic sculpture of a lady with a pot was complemented with an arrangement in a moribana black vase.
Emphasising the lines of the sculpture, while creating a scene at a pond, she aimed at including the art in a larger composition.
 | | By the pond - Ikebana complementing art - sensei Ambika |
 | | ensei Dalley then began her "Installation", with the branches and driftwood creating a large landscape, with mountains, a valley and a rhododendron tree. She worked swiftly and had the audience all agog, as she added finishing touches to the dramatic piece. |
 | | Sensei Dalley's second piece. The picture does not quite do justice to the depth, texture and drama of the composition. |
 | Sensei Ambika's second composition used the metal art piece of the sun
and attempted to create a radiating, energetic composition to
reflect the power of the sun. |
It was then on to the workshop  | | Chithra T - Complementing art - "Buddha's offerings", worked beautifully with the square lines of the vase complementing the picture frame, as also the colours of the composition. |
 | | Sensei Meenu displayed the strong lines of the driftwood, with the anthuriums for colour. |
 | | Pushkala incorporated beautiful movement of the candle bush flower and the branch material in this nagiere composition. |
 | | And she complemented an art photograph of the grains of the tree trunk, with this close imitation in real life. Pushkala |
 | | Sensei Mollyemphasised the driftwood with a single Cannonball branch. |
 | | Luna Bose our new entrant, complemented the tribal mask, with colours and movement. |
 | | Sensei Malathi titled her miniature composition as "Melancholy", as she complemented the mood of the lady on the vase. |
 | | Chithra Rajan's beautiful windswept arrangement with branches. |
 | | Mohan made use of a dead bonsai branch to create this autumn expression. |
 | | Jyotsna's upside down branch with large yellow jerberas reminded one of a Van Gogh painting. |
 | | Sensei Prerana created some autumn magic, with her own painting, and vase and branches so well harmonised. In fact, she combined the two themes into one! |
 | | Sensei Divya's powerful linear use of branches with strong colour accents. |
 | | Bhuvana used the branches of the Ficus, with the fruits providing a beautiful colour punctuation. |
 | | Chelvi harmonised brass and wood, complementing the artistic wooden alcove beautifully. |
It was a satisfying workshop, with so much varied expressions. And to top it all was the filling and delicious refreshments courtesy of senseis Meenu and Prerana.
The theme and dates for the next meeting will be announced soon.
July 24th 2019
The first meeting after the summer break, and we had good attendance. 18 members, including two new members were present.
The first order of business was to welcome the new members Ms Usha and Ms Luna to the Study Group. It was a special moment to welcome Usha, a friend and student of our study group sensei, Late Ms Janaki.
Next, sensei Malathi gave the Third Grade teachers certificates to Senseis Dalley and Ambika. Both expressed what an honour and special moment it was.
 | | Sensei Dalley and Ambika received Third Grade Teacher's certificates from Sensei Malathi! Congratulations to them. |
 Sensei Malathi then proceeded with her demonstration, where she focussed on showing the significance of Line in ikebana and thereby talked about how to read Line before proceeding with the composition.
It can be Linear Form, linear mass, linear surface or simply Line. To read them as 'weak' or Strong'. Also how to strengthen weak Line or how to weaken strong Line.
 | To explain about Linear Form, she worked with a Basic Upright Style moribana, and encouraged
the members to verbalise the movement. This was seen as ascending, inspiring, striving. |
 | | Other Japanese language students also joined in to observe |
 | With the second Nagiere, sensei Malathi elaborated on the display of line (when the leaves are cleared), and
the effect of a slanting line as expressing moving, reaching. |
 | | Using a compote, the third composition focussed on Linear Mass. |
Using lines bunched together, and with clear spaces between the massed leaves, the composition emphasised the line, and beautifully complemented the shape of the vase. The lines on the dressina brought drama and movement below, while the carnations were used in a way to only add colour, with their lines being subsumed into the main line.
 | | The final composition was used to demonstrated drooping Line and also Linear Surface |
The members then proceeded to interpret line in the compositions.
 | | Pushkala used circular movement in this arrangement, |
 | | and linear movement in this one. |
 | | Chithra Rajan's composition in brown had the strong heavy brown branch balanced by the freshness and vitality of the green line. |
 | Sensei Divya created a dramatic composition with a strong
movement that could be verbalised as "snaking"? |
 | Bhuvana's composition was a harmonious
blend of colour and line. |
 | | Mohan used the lines of the umbrella plant to bring height to his composition. |
 | Jyotsna used wavering lines to complement and contrast the strong,
straight lines of the triangular vase. |
 | | Sensei Ambika attempted to use the line to verbalise "Leading". |
 | Chitra Thiagarajan could be said to be expressing "Supporting, as
her lines all balanced each other |
 | | Chelvi used her horizontal line which seemed to express "Seeking" or "Exploring"? |
 | | Sensei Dalley used upward movement in her split composition. |
 | | Pushkala created a beautiful flowing line. |
 | | Sensei Molly also used upward lines, contrasting the brown with the green. |
 | | Mala used ixora to create a linear form. |
 | | Our new member Usha displayed linear form. |
Delicious samosas, bondas and brownies were provided by Dalley and it was a fitting end to a satisfying workshop filled with learning.
25th June 2019
The Coast Guard Wives Welfare Association organised a Sogetsu Ikebana demonstration, and Sensei Meenakshi Sarin was the one who introduced and explained the basics of the art.
Her experience with Coast Guards Women's Association was one of awe for the discipline and protocol for the Armed Forces. Sensei Meenakshi was assisted by her student Jyotsna. The DG's wife was the chief guest for the morning.
As per protocol we could not take pictures, they had assigned a cameramen. Here are some pictures of the event.
 | | Sensei Meenakshi demonstrating her first piece |
 | | The first piece was in a white fibre-glass container, nd was titled Sogetsu. She used Dressina to follow the shape and added chrysanthemum to give colour. Sensei Meenu wanted to give the look of greens and flowers growing the container. |
 | | The second one was in a black suiban, used a curved Dressina trimmed the leaves to give a blunt look, and emphasise the line. The adenium cadix also brought line and the anthuriums provided for colour. |
 | | Freestyle Nagiere composition with dry banana leaves. one horizontal the other vertical. Gerberas of different colours added depth. The whole arrangement was placed on a mirror, (which is not evident from the photograph), and it was completed by a tornado or aluminium wire squiggly all the way down, generating a downward movement to balance the composition. |
The colourful backdrop was a trifle distracting, but it was a big success. The audience showed interest and curiosity in the materials used and in the principles of the art. It was a fulfilling and satisfying experience for Sensei Meenakshi and her student Jyotsna as well.
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