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Ancient art of flower arranging
By Xu Wenwen |
November 15, 2011, Tuesday
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Print Edition
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THE ancient art of Oriental flower arrangement was brought to China from India with the spread of Buddhism and then from China to Japan. A Taiwanese woman teaches the art of Chinese flower arrangement in Hangzhou and Xu Wenwen takes a lesson.
Ikebana, the ancient art of flower arrangement, is always associated with Japan, which perfected it. But experts say that the tradition of floral art was taken to Japan in the 6th century, along with Buddhism.
Flowers were typically arranged in Buddhist offerings. Nowadays, many Taiwanese floral artists are dedicated to promoting the art form in the Chinese mainland.
Chen Guanlin is one of them. She owns the Flower Branch Studio in Hangzhou that has offered classes in flower arranging since 2004. She is a professor of the Floral Arts Foundation in Taipei; she has passed five examinations and taught classes in Taiwan for more than seven years.
In 2004 she moved from Taichung city to Hangzhou, choosing it for its landscapes and culture.
When Buddhism was brought to China from India, flower arranging began during the Southern and Northern Dynasties (AD 420-589) when worshippers offered flowers at temple altars. By the time of the Five Dynasties and Ten Kingdoms (AD 907-979), Emperor Li Yu had made the floral arrangement an imperial art; an annual exhibition was held at the palace. During the Song Dynasty (960-1279), flower arranging was popular among ordinary people but especially among intellectuals who were inspired to paint and write poetry about the arrangements. The art reached its peak in the Ming Dynasty (1368-1644) but declined later because of civil conflict.
Today the Floral Arts Foundation from Taiwan is reviving the art, explaining its theory and publishing textbooks.
"There are a few artists nationwide practicing traditional flower arrangement, and the foundation makes the art a subject by recovering the theory and methodology recorded in ancient books and paintings," says Zhang Xiaohong, vice chairman of Zhejiang Flower Arrangement Association.
Chinese flower arrangement typically uses a master branch, which is the core; a guest branch that helps the main branch express emotion; and a messenger branch, the longest in the arrangement, which extends the emotions of the work.
It does not use foam bricks to hold flowers or branches in place; the water surface, the container and its rim are part of the arrangement.
"The method embodies typical Oriental art values, which are intangible, involve naturalism and space for the imagination," Chen says. "The art is magnificently conceived."
Chen, who used to be an executive in a beauty salon, encountered the art of flower arrangement in the 1970s when she was attracted by several arrangements in a shop window. She inquired, fell in love with the art and has been involved ever since.
That store was a branch of the Floral Arts Foundation where Chen began her study. After years of study and research, she decided to expand to the Chinese mainland nearly eight years ago. But in five years she did not have a single student. She wrote pamphlets and made friends with local artists and intellectuals.
"Sometimes I felt alone, but that was all right as long as I had my flowers," she says. "I believe people will finally embrace the art because it is a tradition of this land."
In 2009, the local women's federation invited Chen to give classes, and thus she had her first students.
Today she has 30 students, mostly young people interested in traditional Chinese art. Some come from other parts of China, such as Liaoning and Shandong provinces, and stay for two months of training.
Chen gives lectures around China and judges competitions. She held a solo show in the city last year.
"I am pleased the art has been spread and someday when my students become teachers, I can retire," she says.
Chen lives in Dingqiao Town in the suburbs. The garden contains impressive floral works. The studio itself can accommodate as many as 12 people.
Chinese flower arrangement is based on the complementary concepts of yin and yang. Male energy or yang is represented by strong colors, upright stems and dominant blooms. Female energy or yin is expressed through vines and tendrils, horizontal elements and more delicate and delicately colored flowers.
Theory
Combining these elements in pleasing proportions represents the balance of contrasting natures. In this way, Chinese flower arrangement is said to bring balancing energy into a home.
There are various basic types of arrangement structure or style: upright, inclined, upside-down and single lateral branch overhung.
Each style is said to express certain emotions or mood. For example, an upright style is often used for formal, solemn occasions. An upside-down style expresses adventure and enthusiasm.
Seasonal flowers and plants are preferred; each month has special flowers. Many have symbolic meanings; pine boughs represent wisdom, maturity and nobility; narcissus stands for prosperity, good fortune and purity; bamboo represents longevity, constancy, humility and fidelity; peach blossoms represent youth and charm.
Containers are carefully chosen to complement the flowers. Vessels should never compete with flowers, so plain, simple containers are preferred, in glass, porcelain, pottery or wood. The surface finish is chosen to complement the flowers and plants; glassy smooth surfaces are suited to delicate blooms; heavier, rough and textured surfaces work well with branches and stronger colors. Shapes vary in size and shape. Containers can be as large as a water vat or as small as a teacup. Foam bricks are not used, but flowers and other elements are held in place by pressing them onto a base of spikes placed close together.
Flower Branch Studio
Address: No. 41 Jinmenkan, Gaocheng Village, Dingqiao Town, Hangzhou
Tel: (0571) 8781-3599
Chen's blog: http://blog.sina.com.cn/hzystudio
Ikebana, the ancient art of flower arrangement, is always associated with Japan, which perfected it. But experts say that the tradition of floral art was taken to Japan in the 6th century, along with Buddhism.
Flowers were typically arranged in Buddhist offerings. Nowadays, many Taiwanese floral artists are dedicated to promoting the art form in the Chinese mainland.
Chen Guanlin is one of them. She owns the Flower Branch Studio in Hangzhou that has offered classes in flower arranging since 2004. She is a professor of the Floral Arts Foundation in Taipei; she has passed five examinations and taught classes in Taiwan for more than seven years.
In 2004 she moved from Taichung city to Hangzhou, choosing it for its landscapes and culture.
When Buddhism was brought to China from India, flower arranging began during the Southern and Northern Dynasties (AD 420-589) when worshippers offered flowers at temple altars. By the time of the Five Dynasties and Ten Kingdoms (AD 907-979), Emperor Li Yu had made the floral arrangement an imperial art; an annual exhibition was held at the palace. During the Song Dynasty (960-1279), flower arranging was popular among ordinary people but especially among intellectuals who were inspired to paint and write poetry about the arrangements. The art reached its peak in the Ming Dynasty (1368-1644) but declined later because of civil conflict.
Today the Floral Arts Foundation from Taiwan is reviving the art, explaining its theory and publishing textbooks.
"There are a few artists nationwide practicing traditional flower arrangement, and the foundation makes the art a subject by recovering the theory and methodology recorded in ancient books and paintings," says Zhang Xiaohong, vice chairman of Zhejiang Flower Arrangement Association.
Chinese flower arrangement typically uses a master branch, which is the core; a guest branch that helps the main branch express emotion; and a messenger branch, the longest in the arrangement, which extends the emotions of the work.
It does not use foam bricks to hold flowers or branches in place; the water surface, the container and its rim are part of the arrangement.
"The method embodies typical Oriental art values, which are intangible, involve naturalism and space for the imagination," Chen says. "The art is magnificently conceived."
Chen, who used to be an executive in a beauty salon, encountered the art of flower arrangement in the 1970s when she was attracted by several arrangements in a shop window. She inquired, fell in love with the art and has been involved ever since.
That store was a branch of the Floral Arts Foundation where Chen began her study. After years of study and research, she decided to expand to the Chinese mainland nearly eight years ago. But in five years she did not have a single student. She wrote pamphlets and made friends with local artists and intellectuals.
"Sometimes I felt alone, but that was all right as long as I had my flowers," she says. "I believe people will finally embrace the art because it is a tradition of this land."
In 2009, the local women's federation invited Chen to give classes, and thus she had her first students.
Today she has 30 students, mostly young people interested in traditional Chinese art. Some come from other parts of China, such as Liaoning and Shandong provinces, and stay for two months of training.
Chen gives lectures around China and judges competitions. She held a solo show in the city last year.
"I am pleased the art has been spread and someday when my students become teachers, I can retire," she says.
Chen lives in Dingqiao Town in the suburbs. The garden contains impressive floral works. The studio itself can accommodate as many as 12 people.
Chinese flower arrangement is based on the complementary concepts of yin and yang. Male energy or yang is represented by strong colors, upright stems and dominant blooms. Female energy or yin is expressed through vines and tendrils, horizontal elements and more delicate and delicately colored flowers.
Theory
Combining these elements in pleasing proportions represents the balance of contrasting natures. In this way, Chinese flower arrangement is said to bring balancing energy into a home.
There are various basic types of arrangement structure or style: upright, inclined, upside-down and single lateral branch overhung.
Each style is said to express certain emotions or mood. For example, an upright style is often used for formal, solemn occasions. An upside-down style expresses adventure and enthusiasm.
Seasonal flowers and plants are preferred; each month has special flowers. Many have symbolic meanings; pine boughs represent wisdom, maturity and nobility; narcissus stands for prosperity, good fortune and purity; bamboo represents longevity, constancy, humility and fidelity; peach blossoms represent youth and charm.
Containers are carefully chosen to complement the flowers. Vessels should never compete with flowers, so plain, simple containers are preferred, in glass, porcelain, pottery or wood. The surface finish is chosen to complement the flowers and plants; glassy smooth surfaces are suited to delicate blooms; heavier, rough and textured surfaces work well with branches and stronger colors. Shapes vary in size and shape. Containers can be as large as a water vat or as small as a teacup. Foam bricks are not used, but flowers and other elements are held in place by pressing them onto a base of spikes placed close together.
Flower Branch Studio
Address: No. 41 Jinmenkan, Gaocheng Village, Dingqiao Town, Hangzhou
Tel: (0571) 8781-3599
Chen's blog: http://blog.sina.com.cn/hzystudio
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