With the development of the shoin-zukuri architectural style starting in the Muromachi period (1336–1573), kakemono (scroll pictures) and containers could be suitable displayed as art objects in the oshiita, a precursor to the tokonoma alcove, and the chigaidana, two-leveled shelves.

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Although nageirebana began to come into favour in the Higashiyama period, rikka was still preferred, and nageirebana did not truly gain popularity until the Momoyama period, about a hundred years after Ashikaga Yoshimasa.

It was at this period that cha-no-yu reached its highest development and strongly influenced the flower art.

Generally symmetrical in form, the arrangements appeared in Japanese religious pictures of the 14thcentury.

It was the first attempt to represent natural scenery.

Popularity of the two styles vacillated between these two for centuries.

In the beginning, rikka was stiff, formal, and more decorative while nageirebana was simpler and more natural.A practitioner of tea was most probably also a follower of ikebana.century for its freedom of line and natural beauty.So, while these two branches both started in the Higashiyama period, rikka better represents the taste of that time, and nageirebana more reflects the taste of the Momoyama period.The set of three ceremonial objects at the Buddhist altar called mitsugusoku consisted of candles lit in holders, a censer, and flowers in a vase.The flowers in the vase were arranged in the earliest style called tatebana or tatehana (立花, "standing flowers"), and were composed of shin (motoki) and shitakusa.For a long time the art had no meaning and was merely the placing in vases, without system, of the flowers to be used as temple offerings and before ancestral shrines.