Chinese Herald Dongying years
Author: Long Dong/Zhang Chen
From September 4th to 7th, the Koharu Ikebana Kusatsu International Classroom held a joint ikebana exhibition between Japan and domestic classrooms for the first time in the stone garden of the Kusatsu Kaikan, setting a precedent for Chinese living in Japan to hold a flower show in the sacred place of Kusatsu Ryu.
Walking into the hall, the unique atmosphere and shock of the grass moon flow come to the face, the layout of the 34 works and the famous grass moon meeting "stone garden" in the history of architecture are perfectly combined, full of order and rigorous calculation and planning, beauty is not only arbitrary atmosphere, but also restrained and reserved, rational and sensual, quiet and unrestrained, in these works sprinkled, in a beautiful space full of heaven, earth and people, feel the color, pattern, shape, fragrant aura.
The flower show has achieved extraordinary success, the first morning received a congratulatory telegram from the current fourth-generation family envoy Kawahara Akane, in the future, Akane Kazuki also took the time to observe one by one, listened carefully to the explanation of the work, and kept giving praise and encouragement, the predecessors of the grass and moon-flow also went to the scene to support Wu Xiaochun, a rising star who keeps pace with the times, including 8 and 90-year-old canes who came to cheer for the masters of the second generation of the family. Everyone unanimously praised her ability to innovate by integrating rational emerging technological principles such as building mechanics into her sensual ikebana works.
The characteristics of Kusagetsu Ikebana are based on "line", "color" and "lump", and it breeds ever-changing creativity and feelings that lead fashion.
Work 1 is produced by Zhang Yu and Long Dong of Yunni Aesthetics, and the title is "Mountains and Winds are the same", showing the theme of "line".
The work is composed of two mountain-shaped main lines, "Takayama" is taken from the "Journey to the Mountains and Streams" of the Northern School of Landscapes, and "Yokoyama" is taken from the "Mt. Fuji" in the ukiyo-e Katsushika Hokusai's "Thirty-six Views of Mount Fuji". The author revives the ancient technique, using as many as more than 10 wedges for a branch, and under the structure of moderate destruction of the fibers and not completely broken, it not only presents the curved arc in the design but also maintains the water supply connection of the vitality of the branch, making enough toughness and ideal mountain shape.
The work chooses flowers and sunflowers, paying tribute to the "embrace" shape of the wind in Kawahara, the undulating structure forms the romantic taste of the flowers, and the horizontal elongation of flowers as a link between flowers to achieve the artistic conception of the overall shape that is open and condensed, while the flowers and sunflowers echo the attributes of radiator heating, and strive to make the flower structure correspond to the mountain, and also achieve unity in meaning.
In order to create this special effect, the author specially designed an original flower vessel with a radiator, which was born in 1845 and was a model of the combination of practicality and design, after nearly 200 years of continuous iteration and improvement, it has the nostalgic mark of the times, after re-cutting and welding, and designed a super weight to strengthen the stability of the base, forming an innovative flower vessel for the redesign of old objects.
Work 2 is the theme of "Lumps", written by Huang Yun and consultant Ken Katayama. The work presents the consistent attitude of the grass moon flow, as kind as grass and as bright as the moon.
Inspired by this group of white porcelain hand-painted bees swimming in the spring flower map of Netherlands flowers, because the exhibition is rectangular, and this group of flowers can just make a "flower" work, that is: with a group of flowers to present the shape, the color on the flower and the dragon willow branches are horizontally coherent, using the toughness of the branches to connect each flower, selecting the chicken crown flower that matches the color of the flower to form a large mass, with white stars up and down, virtual and real excessive.
The work faintly shows the flowers and utensils, the shape and space, the freedom of Zhang Chi, and the harmonious and restrained color blocks.
Work 3 is a transparent spherical surface design, which is a collective work. Based on the artistic aesthetics of Caoyueliu, with the background and perspective of strong academic architecture mechanics, and with plants and heterogeneous materials as the carrier, the original linear surface design of Xiaochun Classroom has become synonymous with Xiaochun Ikebana, and the infinite possibilities of Caoyueliu's large-scale installation are conveyed and discussed, and the discussion of sustainability, change and commerciality is carried out.
Xiaochun Ikebana architectural installation, from the first single straight curved surface shape to participate in the Tokyo Kusatsu Stream Autumn Exhibition in 2023, to the large-scale enclosed floor-to-ceiling linear curved surface installation made in the Jinshanling Valley Concert Hall Square in Aranya, China in 2024, the aerial straight curved surface of the Northeast Yunlang Art Center, and then to the "transparent curved surface" work exhibited in the stone garden of the Caoyue Hall, Xiaochun Ikebana has been extending and exploring the straight curved surface, and upgrading the surface to a transparent spherical surface, forming a stable triangle with three hard straight lines and soft connections. Repeatedly combined into a sphere, the combination of long and short of hard line and soft connection forms a mechanical structure with tensile pressure and axial force acting together, and various aesthetic creations are carried out on the basis of ensuring a stable structure, and the shape of the illusion is combined to form a re-creation of a single element and a variety of combinations, which is unified and rich, and rich in variability in coordination.