Flower is my Life Style
Rose.Ko.Dougo flower journal
2013
07/18
〔Thu〕
21:35:05
The show window of "Matsumura Tokyo松村工藝" - a floral material wholesaler for professional only.
Show window introducing the new publication of "Hana-Ami花阿彌" master Mr. Kazumasa Kubo久保數政
The dried flower floor in "Tokyodo東京堂" - another floral material wholesaler in Tokyo
One of the show corner in "Tokyodo" showing the newest Halloween material
The material I bought for the demonstration on July 6
Practicing my design at Mr. Kazumasa Kubo's久保老師 lesson room - in '"Hana-Ami Gestaltungs Schule花阿彌造型學校"
Germany floral master Gregor Lersch had his comment on Hani-Ami at his own blog on July 17. http;//www.gregorlersch.de
Checking the timing and proportion with the basic work
The base structure of the bridal bouquet for demonstration
The work before the demonstration stage
Demonstration at July 6
Demonstrators : Mr. Kubo and 6 instructors from Hana-Ami
from left : the commentator, Rose, Mieko Sakaguchi, Mr. Kubo and his assistant
Introducing my design concept
My demonstration work
The lucky girl who win my work back home
My diplay work in Hana-Ami Instructor's Society花阿彌講師會 Corner
Details in the work
The event last for 3 day from July 5 to 7.
Show window introducing the new publication of "Hana-Ami花阿彌" master Mr. Kazumasa Kubo久保數政
The dried flower floor in "Tokyodo東京堂" - another floral material wholesaler in Tokyo
One of the show corner in "Tokyodo" showing the newest Halloween material
The material I bought for the demonstration on July 6
Practicing my design at Mr. Kazumasa Kubo's久保老師 lesson room - in '"Hana-Ami Gestaltungs Schule花阿彌造型學校"
Germany floral master Gregor Lersch had his comment on Hani-Ami at his own blog on July 17. http;//www.gregorlersch.de
Checking the timing and proportion with the basic work
The base structure of the bridal bouquet for demonstration
The work before the demonstration stage
Demonstration at July 6
Demonstrators : Mr. Kubo and 6 instructors from Hana-Ami
from left : the commentator, Rose, Mieko Sakaguchi, Mr. Kubo and his assistant
Introducing my design concept
My demonstration work
The lucky girl who win my work back home
My diplay work in Hana-Ami Instructor's Society花阿彌講師會 Corner
Details in the work
The event last for 3 day from July 5 to 7.
2013
07/17
〔Wed〕
17:30:06
The final section of "International Teachers of Floristry" is a 3-day lesson plus an practical examination and paper test.
Homepage of Gregor Lersch : http://www.gregorlersch.de
Every morning started with a longggggg theory lesson (about one and a half hour)
Most of the time Mr. Lersch speak German with simultaneous interpretation to Japanese, but sometimes he speak English, rare, he speak Chinese and Cantonese! (Sadly, I seldom catch his Chinese and Cantonese, I felt really sorry about these!!), but there was a time he asked "Do we need to repeat doing that for this? 唔駛 !!" I burst out in a laugh ! then everybody in the class stared at me, of course, only Mr. Lersch and I know the meaning of "唔駛"!.
I never fall asleep in the theory lessons (may be sometimes almost!!), but Mr. Lersch always know the timing to insert laughing, the whole curriculum contains about 14 hours of theory, but still, It's not too hard to get via with !
The students taking these curriculum is the best of the best. You will attempt to have the ambition to become the best of all in the class in every practice, to do your best and get the best comments from Mr. Lersch.
Each day Mr. Lersch do many demonstration for us to ensure that we get exactly what he teached in the theory.
Every student using same material and flowers for practice, but the outcoming works are never the same.
This is my examination work, a bridal bouquet with bouquet holder, bouquet stand and of course the structural base are all done by hands made... all within 2 hours.
I did my very best!
Homepage of Gregor Lersch : http://www.gregorlersch.de
Every morning started with a longggggg theory lesson (about one and a half hour)
Most of the time Mr. Lersch speak German with simultaneous interpretation to Japanese, but sometimes he speak English, rare, he speak Chinese and Cantonese! (Sadly, I seldom catch his Chinese and Cantonese, I felt really sorry about these!!), but there was a time he asked "Do we need to repeat doing that for this? 唔駛 !!" I burst out in a laugh ! then everybody in the class stared at me, of course, only Mr. Lersch and I know the meaning of "唔駛"!.
I never fall asleep in the theory lessons (may be sometimes almost!!), but Mr. Lersch always know the timing to insert laughing, the whole curriculum contains about 14 hours of theory, but still, It's not too hard to get via with !
The students taking these curriculum is the best of the best. You will attempt to have the ambition to become the best of all in the class in every practice, to do your best and get the best comments from Mr. Lersch.
Each day Mr. Lersch do many demonstration for us to ensure that we get exactly what he teached in the theory.
Every student using same material and flowers for practice, but the outcoming works are never the same.
This is my examination work, a bridal bouquet with bouquet holder, bouquet stand and of course the structural base are all done by hands made... all within 2 hours.
I did my very best!
2013
07/17
〔Wed〕
16:37:34
The building of Nippon Flower Designers' Association (NFD)
Called "Flower Fashion House"
The most amazing part of Fashion House is the roof !
You can fully enjoy any season here with so many different kind of plants and flowers
If you want to view more, take a look at
http://www.nfd.or.jp/pick-up/hanafashionhouse-garden
Looking down from the roof's staircase to the balcony of 3rd floor
Library and open space at the 3rd floor
I always take my lunch here (NFD members are welcome to come here any time)
2nd floor is a well-designed lesson room
Hong Kong 1st NFD instructor got her certificate after finished a 2-day lesson in the Flower Fashion House.
Congratulation !
Called "Flower Fashion House"
The most amazing part of Fashion House is the roof !
You can fully enjoy any season here with so many different kind of plants and flowers
If you want to view more, take a look at
http://www.nfd.or.jp/pick-up/hanafashionhouse-garden
Looking down from the roof's staircase to the balcony of 3rd floor
Library and open space at the 3rd floor
I always take my lunch here (NFD members are welcome to come here any time)
2nd floor is a well-designed lesson room
Hong Kong 1st NFD instructor got her certificate after finished a 2-day lesson in the Flower Fashion House.
Congratulation !
2013
04/17
〔Wed〕
16:18:35
2013年4月14日新娘花球示範衣表演
講師 : 日本花藝設計師協會 岩橋正樹大師
題目:Classical Modern
題目:Inspiration from Afernoon Tea
題目:Bridial Bouquet for Drapery Princess Silhouette Wedding Dress (Over Proportion Design & Casual Design)
Over Proportion Design
Casual Design
題目:Inspiration from Fruit Basket
題目:Inspiration from Macarons Cone (A kind of Decoration in Japanese Wedding)
題目:Bridal Bouquet for Spider Woman
日本花藝設計師協會實際1級習作介紹:流水型新娘花球
日本花藝設計師協會實際2級習作介紹:非對稱型新娘花球
2013年4月14日新娘花球工作坊
題目:構造型新娘花球
講師 : 日本花藝設計師協會 岩橋正樹大師
講師 : 日本花藝設計師協會 岩橋正樹大師
題目:Classical Modern
題目:Inspiration from Afernoon Tea
題目:Bridial Bouquet for Drapery Princess Silhouette Wedding Dress (Over Proportion Design & Casual Design)
Over Proportion Design
Casual Design
題目:Inspiration from Fruit Basket
題目:Inspiration from Macarons Cone (A kind of Decoration in Japanese Wedding)
題目:Bridal Bouquet for Spider Woman
日本花藝設計師協會實際1級習作介紹:流水型新娘花球
日本花藝設計師協會實際2級習作介紹:非對稱型新娘花球
2013年4月14日新娘花球工作坊
題目:構造型新娘花球
講師 : 日本花藝設計師協會 岩橋正樹大師
2012
09/20
〔Thu〕
18:48:28
介紹一本啟發人生的花書
書名 : Europa windet den Kranz(德名)
The Garland of Europe(英名)
歐洲文化之中的花束表現(中譯)
作者Franz Kolbrand 是德國人, 在納粹主義時代他是德國國立花卉藝術專門學校”The National College of Floristry at Weihenstephan”高等課程的講師, 1933年他出版 這本書時, 是隸屬於 “血與土觀念” blood and soil ideology ( 種族與土地結合的意思, 納粹人種主義的基本概念). 印刷版在戰後失傳, 但其手寫原稿一直留在 The Association of German Florists - 德國花藝師協會的文書保管所中.
在1983年, 德國國立花卉藝術專門學校當時的校長 Walter Wortmann再發現這本書, 因感到其內容的高層面性, 用盡努力希望將之再公於世. 但要將一部曾經被納粹主義引用和利用過的書再次出版, 真是談何容易的事 !
這本書中有多編前序, 令人感受到再版過程的眾多掙扎, 其中”由編輯部的訊息” 尤為感動
Notes from the editors.( 德文原文的英譯版)
The modern reader may be surprised and somewhat taken aback by the language, the style and the political impetus in Kolbrand’s work. While, on the one hand we admire his expressive use of language, there are some aspects of idea expressed here which are downright shocking. Looking at the text today there are certain turns of phrase and attitudes which seem uncomfortably nationalistic and we are horrified to find expressions, slogans and mythology that remind us of National Socialist attitudes.
Overlooking Kolbrand’s hard-to-define political allegiances, the editors wondered whether to smooth some of the text and take out the references to “Blood and earth” (a favourite Nazi ideology).
There are 2 reasons why we decided against doing this :
1. Kolbrand is a “child of his time” and therefore also purveyor of a social consciousness which at the time of his writing- mainly at the end of the 1920’s and the early 1930’s – was not yet tainted, nor did many people know of the terrors which National Socialism had in store. The independence of this book can only be maintained by respecting the attitudes and epoch of the author, even if we no longer share these attitudes today. It is up to the reader to interpret those parts of the text which are overtly political and perhaps try and find the real meaning behind them.
2. Once you begin to tamper with a text for reasons of political correctness, the entire work begins to become misshapen and meanings are lost. This cannot be done with a book which is only being translated and updated in regard to it’s illustrative content.
The publishers and editors are of the opinion that it is important and necessary to make “ The Garland of Europe” accessible with all its dimensions and historical aspects in tact.
編輯部的訊息
現在的讀者可能會對Kolbrand的用句, 字眼或書中隱藏的政治意味, 感到十分驚奇甚至卻步, 但當我們體會到作者的高層次表現時, 必須承認他的想法是令人有感動之處. 今天我們會對當時的特定表現和見解感到不舒或厭惡, 我們亦曾考慮過將書中的詞句改寫得比較” 圓滑”, 及刪除其中有納粹主義, 尤其是“血與土” 的部份, 但我們因為以下兩個理由決定不去這樣做 :
一, 在作者執筆的時代 (1920年代後期至1930年代前期) 人們還未能認識到國家社會主義支配的恐怖. 雖然現在我們對當時再沒有同感, 但我們亦應該尊重作者當時代的意識與見解. 至於讀者選擇將書中某些部份與政治分開解釋, 或選擇刻意推敲文章的政治意味, 這個判斷就任由讀者自行決定.
二, 如果編輯部選擇刪改原作的話, 除了要再判斷政治思想的正確性外, 被判斷為”不適合” 的語句應如何訂正, 調整及補足, 而這些工作 只會令原文含糊, 失去意義 .
所以我們決定 : 包括歷史性, 以廣泛視野, 將作者主眼的立場忠誠地傳達
書本原文是德文, 但以下的中文版本是參考日文版和英文版的意思翻譯而成, 英文版注重文筆流暢, 輕略的部份較多, 日文版注重保持原意, 對深層意思的表現更為豐富
書中部份內容介紹 :
第一章 : 以植物裝飾考察精神文明的歷史 The historical and spiritual background of floral decoration
第一段 : 神話的起源, 生命力與植物裝飾 The vitality of decorative flowers and greenery and their fairy tale beginnings
古代的獵人在補獲貴重的獵物後, 會將植物的葉掛在自己的身上, 因為所殺害的獵物, 和獵人同樣對等,是神的創造物, 為要避免獵物的靈復仇, 獵人將象徵和平的枝葉掛在身上當作守護,相信這就是人類最古的植物裝飾 ……
宇宙萬物所有生命, 都為如奇跡一般的宇宙法則所支配, 你可以由一粒微細的種子, 以至星宿運行中發現. 發芽生長的秘密, 漂亮的花朵, 感動的果實. 這些都可以使人明白, 生育的力量和死的命運, 都是廣漠無際循環中的一部份
All living things are governed by the miraculous universe and world order which can be found in everything from a tiny seed to the movement of the stars, in the secret process of germination and the beauty of flowers and in the splendor of plants come to fruition. The power of procreation and the inevitability of death were understood to be part of the vast cycle of renewal to which all living mater was subjected……
在700-800BC的繪畫中, 我們看見年輕的女孩子穿著裝飾滿花朵, 花串, 花環的衣服在跳舞….在同時期的繪畫中, 我們又看見一個在夏至死去女孩的墓旁, 裝飾滿從(故鄉)草原上摘來的花朵……從農民的感覺來看, 死 - 只不過是生命的一部份, 因為是生命的一部份, 所以也應為這一部份而慶祝
On these vessels from the 7 and 8 centuries BC, we see depicted the dance in which young girls wear dresses embroidered with flowers, May garlands and small wreathes…. At about that time, in distant Egtvet, in Jutland, a young girl who died in the bloom of youth around midsummer, had flowers from a local meadow laid alongside her in the grave……..like all peasants she understood death to be no more than one element in the cycle of life, something which is celebrated no differently from other events in life.
第一章第三段 : 民族花飾, 其特色和本質 的其中一部份
當人類開始欣賞花朵的美麗不是因為其有用時, 人類就開始由動物踏入” 人” 的階段, 因為他在生活上的追求以外, 發現精神上的富裕
The first man to pick a flower and looked at it from the left and the right and to be pleased with what he saw even though he could not eat it, was probable taking that first step away from being an animal and towards being in essence a man – because he found the flower beautiful and not just useful.
Rococo(1)時代如吹泡泡般的愉快和活氣,, 而 Biedermeier(2)就只不過是帶表面性傷感的時代. 取代Marquise de Pompadour(3) 夫人優雅的花飾品味, 是 Madame de Stael夫人的時代, 這個被認為是19世紀女性的理想像, 穿著古代買春婦的衣裝, 帶著高教養和傷感的氣氛登場. 她喜愛的植物表現是將整棵玫瑰灌木連根一起塞進一個不相配的豪華花瓶裡. 這就是新花藝表現的開始, 成為今天數以千計變化版的原型作品.
(1) Rococo –18世紀路易15世時期, 以法國為中心的歐洲流行裝飾樣式
(2) Biedermeier – 1818-1848時期的中產階級文化
(3) Marquise de Pompadour –法國路易15世的情人 (1721-1764)
(4) Madame de Stael - 被譽為世界第一位的現代女性, 亦是歐洲的第一位女性作家(1766-1817)
( Rose 的個人意見: 雖然我也是不認同Madame de Stael夫人的衣著及花飾品味, 但她的著名言論是智慧而清晰, 她的名言之中有十分女性化的表現, 如 : ①Love is the whole history of a woman’s life, it is but an episode in a man’s. ②The more I see of men the more I like dogs. 但她的名言大部份是清晰和帶有男性的洞察力, 如 : ③ Scientific progress makes moral progress a necessity, for if man’s power is increased, the checks that retrain him from abusing it must be strengthened. ④The voice of conscience is so delicate that it is easy to stifle it, but it is also so clear that it is impossible to mistake it.
The rococo was a time of playful and bubbling vitality which when translated into Biedermeier became no more than slick sentimentality. While the Marquise de Pompadour posed with elegant non-chalance amid beautiful flowering plants, Madame de Stael, the female ideal of the 19 century is presented dressed-up as a hetaera of antique time, surrounded by evidence of her great learning and sentimental taste. Her love of plants is expressed through a rosebush, the roots of which have been forced into a pompous-looking and completely unsuitable vase. This is the start of the new style of flower-arranging, whose thousands of varieties that have become the basis of our modern day floral arrangements.
突然而來的進步令浪漫主義時代死去(浪漫主義時代Romanticism是指法國大革命前的 Rococo時代)… 取而代之的是中產階級台頭, 他們的生活意識可以由他們對植物的態度反映出來…新的上流社會, 打著” 自由, 平等, 團體友愛” 的口號, 但其實只是中產階級以卑劣粗糙的模仿, 以為金錢可以買到舊時代的宮廷文化和貴族品味, 時代被” 社交” 和” 刺激” 這兩個新理想所支配, 拜金主義者用大量高價的花朵裝飾馬車巡游, 這毫無品味如大騷動般的浪費, 是與現實脫節傍若無人的金錢權力示威, 長期延續的浪費只會變成頑固, 這種社交和刺激只會令人感到悲哀.... 突然所有的物件變得巨大, 傳統用來裝飾新建築物的花飾變得誇張, 巨大得過了節度, 連船隻, 動物, 機器也被花飾填滿, 不自然(浮誇) 的德行奴役著整個社會…… 矯飾並不能使人發現:”本質(真正)的美只是單純,並不需要任何附加和解釋”….進入19世紀以後, 巨大化的花飾都嬴得大眾的欣賞, 兩米直徑的花環上束滿羊齒葉和花束, 但這也不會使人驚訝. 新的鐵線結紮技術, 令作品做得更快更大. 人們認為技術就是藝術.
城市的人本來是希望透過植物得到一種身心慰藉, 但另一方面拜金主義令植物花飾傾向浮誇, 經濟不斷地成長, 推向全盛期, 但新的刺激並不可能永遠持續, 不斷的凌駕, 無意義的誇張, 到最後只會引來反感. 沒有藝術家會對浮誇的花飾感動. 印象派的 Manet, Renoir, Corinth 以及 Van Gogh 開始台頭. 在他們的繪畫之中, 長期陷落成裝飾材料的花朵, 再次被有個性有生氣地表現在繪畫上. 在這個發展迅速, 無機質環境支配的社會當中, 發芽成長有生命力的植物, 是安撫心靈的必要部份.
Romanticism died because it was overtaken by a sudden rush of progress….. It was also out of the spirit of the romantic era that the new bourgeois classes developed their new lifestyle and this is clearly mirrored in their attitude to flowers and greenery……..The new ruling classes, whose style was copied crudely and slavishly by the middle classes, demonstrated that money could now buy the lifestyle which Ancien Regime had enjoyed and which had been overturned in the name of Freedom, Equality and Fraternity……..Suddenly everything became larger than life. The flower arrangements which had traditionally decorated new buildings took on exaggerated proportions. The society which was slave to all this unnatural virtuosity lives on in historic films…….. this artificiality would never allow one to see that beauty is only to be found in a diverse simplicity and in those things which need on explanation. ….. In the middle of the last century oversized floral monstrosities gained popularity. Wreathes measuring 2 metres in diameter with fronds and bouquets attached were no longer the exception. New techniques involving wire allowed for incredible improvisation. Art became no more than a skill. Set arrangements and plaster work were the trademark of floral arrangements and no task was considered too awful. The very real desire of city dwellers to enjoy the spiritual sustenance provided by being in contact with plants when coupled with the nouveau riche desire for glamorous design led to an unparalleled economic blossoming. These excesses cannot however, be pushed too far. People feel disgust and repulsion when faced with too much ornamentation extravagance. No artist has ever been inspired by a flowers arranged to look like a work of art. The flower paintings of artists such as Manet, Renoir or Corinth and above all Van Gogh exude the spirit of the old masters Albrecht Durer and Matthias Grunwald. By portraying the true nature of a flower they were able to show the way forward for floral decoration which had become bogged down by facile decoration. In these fast and technological times the calming and regenerating effect of plants is doubly important for us.
附圖 : 代表中產階級主義開始的一幅畫“Bourgeoisie- 中產階級的”. 畫中主角就是Madame de Stael. 所有畫中的物品都經過刻意策劃, The great lady - Madame de Stael以希臘式座姿登場, (這座姿後來成為當時的流行) 夫人的沙龍反映出她的教養與品味, 窗外鄉土味重的景色, 使人感覺到她的浪漫和傷感, 苦心經營滿擠在希臘式古典花瓶內的花飾 (玫瑰灌木的根因為不能完全被塞進在花瓶裡, 所以高高冒出瓶口外), 創造了完全的人工性表現. 這是嬌媚, 亦不至於完全無品味”Bourgeois”的開始, 50年後成為知識及社會墮落的溫床
This is how the representation of the “Bourgeoisie” began. Everything is carefully arranged. The great lady of the fashionable society takes on a classic Greek pose which is en vogue at the time. All the decoration around her implies education and indicates the interests of the lady of the salon. The romantic and sentimental love of the rustic life is expressed through the view form the window and the flower arrangement is an antique-loo-king vase. However the completely overfilled elaborate vase creates a completely artificial impression. This was the charming and not completely tasteless beginning of bourgeois representation which 50 years later became hot-bed of intellectual and social corruption.
書名 : Europa windet den Kranz(德名)
The Garland of Europe(英名)
歐洲文化之中的花束表現(中譯)
作者Franz Kolbrand 是德國人, 在納粹主義時代他是德國國立花卉藝術專門學校”The National College of Floristry at Weihenstephan”高等課程的講師, 1933年他出版 這本書時, 是隸屬於 “血與土觀念” blood and soil ideology ( 種族與土地結合的意思, 納粹人種主義的基本概念). 印刷版在戰後失傳, 但其手寫原稿一直留在 The Association of German Florists - 德國花藝師協會的文書保管所中.
在1983年, 德國國立花卉藝術專門學校當時的校長 Walter Wortmann再發現這本書, 因感到其內容的高層面性, 用盡努力希望將之再公於世. 但要將一部曾經被納粹主義引用和利用過的書再次出版, 真是談何容易的事 !
這本書中有多編前序, 令人感受到再版過程的眾多掙扎, 其中”由編輯部的訊息” 尤為感動
Notes from the editors.( 德文原文的英譯版)
The modern reader may be surprised and somewhat taken aback by the language, the style and the political impetus in Kolbrand’s work. While, on the one hand we admire his expressive use of language, there are some aspects of idea expressed here which are downright shocking. Looking at the text today there are certain turns of phrase and attitudes which seem uncomfortably nationalistic and we are horrified to find expressions, slogans and mythology that remind us of National Socialist attitudes.
Overlooking Kolbrand’s hard-to-define political allegiances, the editors wondered whether to smooth some of the text and take out the references to “Blood and earth” (a favourite Nazi ideology).
There are 2 reasons why we decided against doing this :
1. Kolbrand is a “child of his time” and therefore also purveyor of a social consciousness which at the time of his writing- mainly at the end of the 1920’s and the early 1930’s – was not yet tainted, nor did many people know of the terrors which National Socialism had in store. The independence of this book can only be maintained by respecting the attitudes and epoch of the author, even if we no longer share these attitudes today. It is up to the reader to interpret those parts of the text which are overtly political and perhaps try and find the real meaning behind them.
2. Once you begin to tamper with a text for reasons of political correctness, the entire work begins to become misshapen and meanings are lost. This cannot be done with a book which is only being translated and updated in regard to it’s illustrative content.
The publishers and editors are of the opinion that it is important and necessary to make “ The Garland of Europe” accessible with all its dimensions and historical aspects in tact.
編輯部的訊息
現在的讀者可能會對Kolbrand的用句, 字眼或書中隱藏的政治意味, 感到十分驚奇甚至卻步, 但當我們體會到作者的高層次表現時, 必須承認他的想法是令人有感動之處. 今天我們會對當時的特定表現和見解感到不舒或厭惡, 我們亦曾考慮過將書中的詞句改寫得比較” 圓滑”, 及刪除其中有納粹主義, 尤其是“血與土” 的部份, 但我們因為以下兩個理由決定不去這樣做 :
一, 在作者執筆的時代 (1920年代後期至1930年代前期) 人們還未能認識到國家社會主義支配的恐怖. 雖然現在我們對當時再沒有同感, 但我們亦應該尊重作者當時代的意識與見解. 至於讀者選擇將書中某些部份與政治分開解釋, 或選擇刻意推敲文章的政治意味, 這個判斷就任由讀者自行決定.
二, 如果編輯部選擇刪改原作的話, 除了要再判斷政治思想的正確性外, 被判斷為”不適合” 的語句應如何訂正, 調整及補足, 而這些工作 只會令原文含糊, 失去意義 .
所以我們決定 : 包括歷史性, 以廣泛視野, 將作者主眼的立場忠誠地傳達
書本原文是德文, 但以下的中文版本是參考日文版和英文版的意思翻譯而成, 英文版注重文筆流暢, 輕略的部份較多, 日文版注重保持原意, 對深層意思的表現更為豐富
書中部份內容介紹 :
第一章 : 以植物裝飾考察精神文明的歷史 The historical and spiritual background of floral decoration
第一段 : 神話的起源, 生命力與植物裝飾 The vitality of decorative flowers and greenery and their fairy tale beginnings
古代的獵人在補獲貴重的獵物後, 會將植物的葉掛在自己的身上, 因為所殺害的獵物, 和獵人同樣對等,是神的創造物, 為要避免獵物的靈復仇, 獵人將象徵和平的枝葉掛在身上當作守護,相信這就是人類最古的植物裝飾 ……
宇宙萬物所有生命, 都為如奇跡一般的宇宙法則所支配, 你可以由一粒微細的種子, 以至星宿運行中發現. 發芽生長的秘密, 漂亮的花朵, 感動的果實. 這些都可以使人明白, 生育的力量和死的命運, 都是廣漠無際循環中的一部份
All living things are governed by the miraculous universe and world order which can be found in everything from a tiny seed to the movement of the stars, in the secret process of germination and the beauty of flowers and in the splendor of plants come to fruition. The power of procreation and the inevitability of death were understood to be part of the vast cycle of renewal to which all living mater was subjected……
在700-800BC的繪畫中, 我們看見年輕的女孩子穿著裝飾滿花朵, 花串, 花環的衣服在跳舞….在同時期的繪畫中, 我們又看見一個在夏至死去女孩的墓旁, 裝飾滿從(故鄉)草原上摘來的花朵……從農民的感覺來看, 死 - 只不過是生命的一部份, 因為是生命的一部份, 所以也應為這一部份而慶祝
On these vessels from the 7 and 8 centuries BC, we see depicted the dance in which young girls wear dresses embroidered with flowers, May garlands and small wreathes…. At about that time, in distant Egtvet, in Jutland, a young girl who died in the bloom of youth around midsummer, had flowers from a local meadow laid alongside her in the grave……..like all peasants she understood death to be no more than one element in the cycle of life, something which is celebrated no differently from other events in life.
第一章第三段 : 民族花飾, 其特色和本質 的其中一部份
當人類開始欣賞花朵的美麗不是因為其有用時, 人類就開始由動物踏入” 人” 的階段, 因為他在生活上的追求以外, 發現精神上的富裕
The first man to pick a flower and looked at it from the left and the right and to be pleased with what he saw even though he could not eat it, was probable taking that first step away from being an animal and towards being in essence a man – because he found the flower beautiful and not just useful.
Rococo(1)時代如吹泡泡般的愉快和活氣,, 而 Biedermeier(2)就只不過是帶表面性傷感的時代. 取代Marquise de Pompadour(3) 夫人優雅的花飾品味, 是 Madame de Stael夫人的時代, 這個被認為是19世紀女性的理想像, 穿著古代買春婦的衣裝, 帶著高教養和傷感的氣氛登場. 她喜愛的植物表現是將整棵玫瑰灌木連根一起塞進一個不相配的豪華花瓶裡. 這就是新花藝表現的開始, 成為今天數以千計變化版的原型作品.
(1) Rococo –18世紀路易15世時期, 以法國為中心的歐洲流行裝飾樣式
(2) Biedermeier – 1818-1848時期的中產階級文化
(3) Marquise de Pompadour –法國路易15世的情人 (1721-1764)
(4) Madame de Stael - 被譽為世界第一位的現代女性, 亦是歐洲的第一位女性作家(1766-1817)
( Rose 的個人意見: 雖然我也是不認同Madame de Stael夫人的衣著及花飾品味, 但她的著名言論是智慧而清晰, 她的名言之中有十分女性化的表現, 如 : ①Love is the whole history of a woman’s life, it is but an episode in a man’s. ②The more I see of men the more I like dogs. 但她的名言大部份是清晰和帶有男性的洞察力, 如 : ③ Scientific progress makes moral progress a necessity, for if man’s power is increased, the checks that retrain him from abusing it must be strengthened. ④The voice of conscience is so delicate that it is easy to stifle it, but it is also so clear that it is impossible to mistake it.
The rococo was a time of playful and bubbling vitality which when translated into Biedermeier became no more than slick sentimentality. While the Marquise de Pompadour posed with elegant non-chalance amid beautiful flowering plants, Madame de Stael, the female ideal of the 19 century is presented dressed-up as a hetaera of antique time, surrounded by evidence of her great learning and sentimental taste. Her love of plants is expressed through a rosebush, the roots of which have been forced into a pompous-looking and completely unsuitable vase. This is the start of the new style of flower-arranging, whose thousands of varieties that have become the basis of our modern day floral arrangements.
突然而來的進步令浪漫主義時代死去(浪漫主義時代Romanticism是指法國大革命前的 Rococo時代)… 取而代之的是中產階級台頭, 他們的生活意識可以由他們對植物的態度反映出來…新的上流社會, 打著” 自由, 平等, 團體友愛” 的口號, 但其實只是中產階級以卑劣粗糙的模仿, 以為金錢可以買到舊時代的宮廷文化和貴族品味, 時代被” 社交” 和” 刺激” 這兩個新理想所支配, 拜金主義者用大量高價的花朵裝飾馬車巡游, 這毫無品味如大騷動般的浪費, 是與現實脫節傍若無人的金錢權力示威, 長期延續的浪費只會變成頑固, 這種社交和刺激只會令人感到悲哀.... 突然所有的物件變得巨大, 傳統用來裝飾新建築物的花飾變得誇張, 巨大得過了節度, 連船隻, 動物, 機器也被花飾填滿, 不自然(浮誇) 的德行奴役著整個社會…… 矯飾並不能使人發現:”本質(真正)的美只是單純,並不需要任何附加和解釋”….進入19世紀以後, 巨大化的花飾都嬴得大眾的欣賞, 兩米直徑的花環上束滿羊齒葉和花束, 但這也不會使人驚訝. 新的鐵線結紮技術, 令作品做得更快更大. 人們認為技術就是藝術.
城市的人本來是希望透過植物得到一種身心慰藉, 但另一方面拜金主義令植物花飾傾向浮誇, 經濟不斷地成長, 推向全盛期, 但新的刺激並不可能永遠持續, 不斷的凌駕, 無意義的誇張, 到最後只會引來反感. 沒有藝術家會對浮誇的花飾感動. 印象派的 Manet, Renoir, Corinth 以及 Van Gogh 開始台頭. 在他們的繪畫之中, 長期陷落成裝飾材料的花朵, 再次被有個性有生氣地表現在繪畫上. 在這個發展迅速, 無機質環境支配的社會當中, 發芽成長有生命力的植物, 是安撫心靈的必要部份.
Romanticism died because it was overtaken by a sudden rush of progress….. It was also out of the spirit of the romantic era that the new bourgeois classes developed their new lifestyle and this is clearly mirrored in their attitude to flowers and greenery……..The new ruling classes, whose style was copied crudely and slavishly by the middle classes, demonstrated that money could now buy the lifestyle which Ancien Regime had enjoyed and which had been overturned in the name of Freedom, Equality and Fraternity……..Suddenly everything became larger than life. The flower arrangements which had traditionally decorated new buildings took on exaggerated proportions. The society which was slave to all this unnatural virtuosity lives on in historic films…….. this artificiality would never allow one to see that beauty is only to be found in a diverse simplicity and in those things which need on explanation. ….. In the middle of the last century oversized floral monstrosities gained popularity. Wreathes measuring 2 metres in diameter with fronds and bouquets attached were no longer the exception. New techniques involving wire allowed for incredible improvisation. Art became no more than a skill. Set arrangements and plaster work were the trademark of floral arrangements and no task was considered too awful. The very real desire of city dwellers to enjoy the spiritual sustenance provided by being in contact with plants when coupled with the nouveau riche desire for glamorous design led to an unparalleled economic blossoming. These excesses cannot however, be pushed too far. People feel disgust and repulsion when faced with too much ornamentation extravagance. No artist has ever been inspired by a flowers arranged to look like a work of art. The flower paintings of artists such as Manet, Renoir or Corinth and above all Van Gogh exude the spirit of the old masters Albrecht Durer and Matthias Grunwald. By portraying the true nature of a flower they were able to show the way forward for floral decoration which had become bogged down by facile decoration. In these fast and technological times the calming and regenerating effect of plants is doubly important for us.
附圖 : 代表中產階級主義開始的一幅畫“Bourgeoisie- 中產階級的”. 畫中主角就是Madame de Stael. 所有畫中的物品都經過刻意策劃, The great lady - Madame de Stael以希臘式座姿登場, (這座姿後來成為當時的流行) 夫人的沙龍反映出她的教養與品味, 窗外鄉土味重的景色, 使人感覺到她的浪漫和傷感, 苦心經營滿擠在希臘式古典花瓶內的花飾 (玫瑰灌木的根因為不能完全被塞進在花瓶裡, 所以高高冒出瓶口外), 創造了完全的人工性表現. 這是嬌媚, 亦不至於完全無品味”Bourgeois”的開始, 50年後成為知識及社會墮落的溫床
This is how the representation of the “Bourgeoisie” began. Everything is carefully arranged. The great lady of the fashionable society takes on a classic Greek pose which is en vogue at the time. All the decoration around her implies education and indicates the interests of the lady of the salon. The romantic and sentimental love of the rustic life is expressed through the view form the window and the flower arrangement is an antique-loo-king vase. However the completely overfilled elaborate vase creates a completely artificial impression. This was the charming and not completely tasteless beginning of bourgeois representation which 50 years later became hot-bed of intellectual and social corruption.
