Why bonsai styling cannot be formulaic or mechanical
Bonsai styling does not need this kind of foresight. If there is such foresight, bonsai styling easily falls into the dead end of formulaic and mechanical work. The shapes in an individual's mind are all limited; it is impossible to have the divine craftsmanship and ever-changing forms of nature. Before painters create, they all go into nature to sketch from life, which is to seek inspiration from nature and look for unusual compositions and shapes, so as to achieve an unexpected artistic effect of following nature. If this kind of foresight were used to shape the work, it would be no different from targeted cultivation, and in the end the artistic effect of the work would certainly fall into the trap of artificiality and patterning. Before styling a bonsai, the material should be allowed to grow freely, growing into ever-changing shapes, and then shaped according to its qualities; only in this way can an unexpected and richly varied artistic effect be obtained.
The outward form of bonsai styling should be richly varied, not formulaic
The outward form of bonsai styling should be richly varied, not formulaic
Like painting, photography and dance, bonsai is an art expressed through images rather than through language and writing. It speaks through images and moves people through images. According to the characteristics and laws of bonsai itself, effort should be put into the communication between the work's outward form and the viewer's psychology, so that the outward form of the bonsai work matches the viewer's psychological response, and the meaning expressed is understood and accepted by the viewer. If the shaping of the outward form is neglected and reliance is placed only on the title to express things, then it is impossible to produce resonance in the viewer's psychology.
The shaping of a bonsai's outward form is a relatively long process of artistic shaping, and it cannot be completed in one stroke like painting. From the selection of material and the start of cultivation, one should already have a clear idea of the future outward form. The usual bud selection,
branch development, pruning, wiring and so on should all work toward realizing the expected outward form. All partial shaping must be subordinate to the bonsai's outward form design, making it an inseparable part of the whole. Of course, plant growth cannot completely follow human wishes, so this requires the creator to be good at adapting to circumstances, making adjustments, and revising the original outward form design, such as changing the original slanting-trunk style to a cascade style.
In current bonsai styling, the phenomena of identical outward forms and formulaic work are widespread, especially the styling of the scalene triangle outward form. In some articles introducing and evaluating bonsai styling, the scalene triangle outward form styling is presented as the only formula. When analyzing works, using the scalene triangle to define them misleads people. Some beginners think that the outward form of a bonsai can only be shaped into a scalene triangle, and they dare not overstep by a single step (figure).
In fact, whether it is the scalene triangle outward form or the large pot-top outward form, both are a kind of regular geometric styling. The creator only needs to let the branches and leaves grow and fill within the triangular frame, and after shaping, through pruning, always maintain the triangular outward form. This kind of outward form styling does not require much creative thinking; it is not very different from the styling of spherical trees in parks and beside roads. After seeing too much of it, one feels bored, and it is impossible to produce an uplifting and pleasurable aesthetic feeling in people's psychology.
From the perspective of plant growth laws, the crown is generally small at the top and large below, and the triangular crown outward form conforms to the growth laws of trees. This provides beginners with a simple outward form model when they first get started. But can it be shaped to be more restrained and subtle, with undulating changes and without traces of mechanical artificiality? Below we appreciate two bonsai works:
One is Bao Shiqi's bonsai work "Twin Heroes" (Figure 10-16), and the other is a shimpaku juniper bonsai from the California Bonsai Federation in the United States (Figure 10-17).
The branches of the two works have variations in length and in gathering and scattering, the crown leaves open blank areas around it, and some local branches break through the virtual triangular boundary line. The outer contour line of the crown is a free curve with rises and falls, concavities and convexities, and rhythmic changes. No traces of artificial processing can be seen, and it appears very vivid and natural (please see Figure 10-17; the pale yellow line is the virtual scalene triangle frame line of the crown. The red line is the actual outer contour line of the crown, which is a free and flowing curve). In fact, the myriad things in nature are richly varied, and it is also difficult to find trees with a regular triangular outward form.
Composition and Expression Techniques of Eastern-Style Flower Arrangement
1. Composition of flower forms
Eastern-style flower arrangement often uses the scalene triangle composition method to determine the shape, fully bringing into play the variation of lines. Its characteristic is that it is based on the principle of asymmetrical balance, rich in variation, and able to achieve a lively and natural artistic effect. It has a wide range of uses, can express the author's thoughts, and has profound artistic conception. Asymmetrical flower arrangement is not easy to master well; when just learning, one can first follow certain proportional relationships for arrangement. The natural flower forms of Eastern-style flower arrangement are mostly composed of three main branches.
(1) Three main branches: Although the cutting, combination and proportional relationship with the container are set at 7:5:3, close to the golden ratio, there is absolutely no fixed formula or strict requirement for the position, extension direction and angle of each flower branch; the principle is to follow the natural tendency of the flower branches, be rich in natural interest, and conform to natural principles, while preserving the original natural form of the floral materials, inserting flexibly and shaping freely, to achieve the realm of "though made by human hands, it appears as if opened by heaven." The various sizes in flower arrangement must coordinate with the scale of the environmental space in which they are placed. Once the size of the work is determined, it is then necessary to decide how large a container to choose. The container is also part of the work; when considering the size of the work, the container must be included in the overall consideration. After the container is chosen, the size of the work is completed by the length/height of the main branches.
The size of the environment in which the work is placed determines the overall size of the work
Determine the size of the container according to the overall size of the work
Determine the length/height of the main branches according to the size of the container
Determine the length/height of the main branches
Length/height of the first main branch = (container mouth diameter + container height) x 1.5 to 2
Length/height of the second main branch = length/height of the first main branch x 3/4 to 2/3
Length/height of the third main branch = length/height of the second main branch x 3/4 to 2/3
After the proportional relationship of the lengths of the three main branches is determined, it is also necessary to use a positioning method with a scalene triangle outline. This method allows relatively large variations in styling; as long as the proportional relationships are well mastered and the positions and angles of the three main branches are slightly changed, various different-shaped patterns can be produced.
(2) Secondary branches: also called auxiliary branches. Around each main branch, several secondary branches may be inserted as needed to set off the main branch. In principle, they must not exceed the main branch, and generally floral materials the same as the main branch are chosen. If the mutual positions and insertion angles of the floral materials differ, the flower form will differ.
2. Expression techniques
(1) Asymmetrical balance: An asymmetrical shape is like a steelyard; although the distances on both sides and above and below may differ in length, the position of the center of gravity is at the center of the flower vessel, so the stability and balance of the center of gravity can be maintained. In terms of balance relationships, there are also requirements for the layout of floral materials: light above and heavy below, scattered above and gathered below, light above and dark above, small above and large below; high and low staggered, bending and lifting echoing each other---this creates layers. Flower arrangement must create three-dimensional layers and cannot be inserted on a single plane; the concept of perspective should be established, and the work should have a tendency to extend into the distance. The pruning of flower branches should include long and short ones; generally the height of accompanying flowers and leaves must not exceed the main flower; dense and sparse arrangement-----the arrangement of flower branches in a flower arrangement work should avoid equal spacing, and there should be sparseness and density to have charm; combination of virtual and real----the empty spaces created by the high and low positions of the floral materials give the flower arrangement work space to fully display the beauty of the flower branches, give the branches room to extend, expand the scope of the work, and allow it to stretch out.
(2) Choose a unified direction point for the floral materials: the front side of the floral materials should face one unified direction---the light source, just like the phototropism of plant branches as they grow. In an upright flower form, this point is first directly in front and above the position where the arranger stands; if this point is set to the front-left and slightly upward (downward) of the position where the arranger stands, then it is a left-slanting form (drooping form) or a right-slanting form (drooping form). The front orientation of all floral materials should conform as much as possible to this unified point and must not be reversed. Only then can the beauty of mutual echoing among the floral materials be embodied.
(3) Choose the best linear floral materials: Eastern-style flower arrangement styling is mainly the application of lines. Different lines express different connotations: straight lines express firmness and strength; curved lines and fine lines express softness; slanting lines express movement. Which kind of linear floral material to use specifically must be combined with the theme the author expresses. Using flower branches as lines for styling, and especially making good use of woody flower branch lines for styling, is also one of the most prominent characteristics of traditional Chinese flower arrangement. Woody flower branches are the richest in painterly quality, whether soft or firm, thick or thin, elegant or ancient and austere, and so on. Their lifespan is also relatively long and they are easy to process and shape, allowing free composition, displaying various graceful and vivid outlines, volumes, textures and dynamics, and revealing an artistic world in which one leaf is one world and one flower is one universe.
(4) Freehand expression and realistic representation: Realistic representation follows the growth laws of flowers and trees in nature, inserting flower branches into the flower vessel according to their natural postures of high and low unevenness and bending, lifting, side-facing and upright to express natural scenery. Freehand expression emphasizes the poetic and painterly quality brought by the work's styling. By using abstract expressive methods, it makes people associate through the selected floral materials. Freehand expression is the highest realm of Eastern flower arrangement.
(5) Creation of artistic conception: Eastern flower arrangement is represented by China and Japan, and its style mainly aims to embody the natural beauty, linear beauty and artistic conception beauty of floral materials, while the creation of artistic conception is the highest realm pursued by Chinese flower arrangement art. It is rooted in China's ancient culture and art, embodies the natural realm pursued by Confucian, Daoist and Buddhist culture in Chinese philosophical thought, and incorporates the cultural connotations of Chinese poetry and painting. Therefore, the beauty of artistic conception is the contribution of Chinese flower arrangement art to the world's flower arrangement art, and it is also a difficult point in the design and creation of Chinese flower arrangement. The depth of artistic conception is also the most important standard for measuring the artistic level of Chinese flower arrangement. Therefore, no matter how Chinese flower arrangement art develops, it cannot depart from this basic foundation; understanding and mastering this point is crucial for flower arrangement creators. The key point of Chinese artistic flower arrangement is the creation of artistic conception. "Artistic conception" was originally a core category in classical Chinese art theory and also a realm that classical Chinese art strives for, and it centrally reflects the aesthetic consciousness of the Chinese nation. Regarding the understanding of artistic conception, ancient literati and artists each had different understandings, such as the Song dynasty poet Su Shi's "meeting of meaning and realm," the "harmony of thought and realm" mentioned in "Twenty-Four Grades of Poetry," the "spiritual likeness" beyond "formal likeness" pursued by Chinese painting, and the unity of content beauty and formal beauty pursued by calligraphy art, and so on; all of these speak of "artistic conception." Although the statements differ from different angles, they can be unified into one point, namely the requirement for the communication and integration of the subjective emotional world and the objective material world. According to the explanation in the modern "Cihai," artistic conception is an artistic realm formed by the fusion and consistency of the life scenes depicted in a literary and artistic work and the thoughts and feelings expressed. The two are consistent. Chinese artistic flower arrangement either draws on the theories of the above various arts or draws on creative techniques as its foundation, so the artistic conception in artistic flower arrangement can be understood as: the ideological content that the flower arrangement creator wants to express and the flower arrangement styling inserted according to the theme together constitute the artistic conception of the artistic flower arrangement; the two depend on each other and neither can be missing.
Flower arrangement is a plastic art. Whether traditional or modern, and whether conventional styling or anti-conventional styling, as artistic flower arrangement, before creating a flower arrangement one must first understand the form, texture and habits of the flower arrangement materials, master the basic theories of flower arrangement, be proficient in the methods and techniques of flower arrangement styling, be thoroughly familiar with related cultural and artistic content, and conduct careful observation and study of the landscapes that exist in reality, so that when creating a flower arrangement one has a well-thought-out plan. This is the basic condition for flower arrangement creation. On this basis, only through continuous practice, creation and exchange is it possible to create works with beauty of artistic conception. When creating the artistic conception of artistic flower arrangement, at least two major steps should be completed well, namely determining the direction of the creative content and completing the flower arrangement styling.
Artistic flower arrangement is generally only the condensation and reflection of the author's artistic cultivation, so the direction of the creative content does not require excessive consideration of the environment and use; what is important is what the author wants to express, what can be expressed, and how deeply it can be expressed, thereby determining the depth of the artistic conception of the work that can be created. Therefore, for creators with a certain level of flower arrangement skill, the accurate positioning of the creative direction is the most important; it is an important step that can ultimately determine whether the author can create a work with an artistic conception that is extraordinary, lofty and far-reaching. According to the connotations of the artistic conception of Chinese artistic flower arrangement, the determination of the creative direction can mainly be considered from the content contained in literature, the natural landscapes and man-made landscapes in reality, and the floral materials and utensils that make up the flower arrangement, and so on, and through the use of them or the inspiration obtained from them, creative inspiration can be stimulated. Landscapes in reality can produce the most intuitive inspiration for flower arrangement creators, and this is also the reason we emphasize careful observation of landscapes before flower arrangement creation. The creative ideas of many works originate from this. Whether it is the reference to and processing of natural landscapes, or the imitation and refinement of man-made landscapes, there is inexhaustible and endlessly usable content. Artistic flower arrangement comes from life, so some creations that express the artistic conception of the spirit of the times can be more easily expressed by considering flower arrangement containers, accessories and floral materials.
II. Basic Forms of Eastern Flower Arrangement
(1) Upright form: Upright flower arrangement is based on the first main branch being basically upright, and all inserted flowers show a natural upward momentum, with the trend also maintained toward one place. The insertion of each flower branch must have an artistic conception, highlight the theme, and strive for clear layers and well-arranged high and low positions. The first main branch must be inserted upright in the flower vessel. The second main branch is inserted on one side of the first main branch with a slight slant. The third main branch is inserted on the other side of the first main branch and may also be slightly slanted. The latter two flower branches are required to echo the first flower branch and form a whole. It expresses the artistic conception of graceful standing or upright loftiness. Strive for variation, and auxiliary floral materials should not weaken the direction of the main branch. Key points for insertion---both high and low can be used for this form; when inserting in a shallow dish, pay attention to the position of the main branch in the container. When placed in the center, strive for variation to avoid stiffness. The longest main branch should be consistent with the vertical line, or within a 15-degree angle from the vertical line. A shallow basin or tall bottle can be used as the flower arrangement container.
A. Upright form in a shallow basin: Place the floral foam or pin holder on one side of the shallow basin so that the flower form extends toward the blank area on the other side. The first main branch is vertical or tilted left 15 degrees from the vertical line and slightly backward about 10 degrees. The second main branch is inserted 30 degrees to the left of the first main branch and tilted forward about 45 degrees, so that the flower branches have front-to-back depth and a three-dimensional feel, and must not be in the same plane as the first main branch. The third main branch is inserted to the right of the first main branch, tilted forward 75°, basically horizontal or slightly upward. After the three main branches are inserted, insert secondary branches around the three main branches respectively. The secondary branches of the first and second main branches form a smaller angle with their main branches, tilted forward 10-15°; a secondary branch of the third main branch is inserted in the middle position, tilted forward 20-50°, and can be composed of 2-3 flowers; it is also often the focal point of the styling, so a slightly larger flower is often chosen for it. Finally, insert three or four leaves at the base to fill out the flower shape and cover the pin holder or floral foam.
B. Upright form in a bottle: The flower form and the angles of the main branches in tall-bottle flower arrangement are the same as in a shallow basin, but the fixing tool is not a pin holder or floral foam. The fixing technique has higher requirements, so that it does not move freely. A common method is to narrow the larger bottle mouth, or to use the method of tying branches to fix the positions of the flower branches, and then complete the overall styling according to the insertion method for a shallow basin. Special attention should be paid to the treatment inside the bottle. Eastern-style flower arrangement requires the bottle mouth to be clean and neat, and generally at least 1/4 of the space should be left.
There is also a variation of the upright form called the straight-up form. The straight-up form is narrower, and the bases of the flower branches are consistent with the vertical line. The first main branch must be inserted in a vertical state, without bending or assigned slanting, and it is advisable to choose floral material with a certain curve at the top as the main branch. The second and third main branches are also basically vertical and must not have a large degree of bending. A basin-shaped flower vessel is preferable.
(2) Horizontal-spreading composition: Horizontal-spreading flower arrangement is a style in which all the flowers are expressed on the entire plane. The styling is like the creeping growth posture of ground-cover plants; there is no obvious high-low layer change among the flower branches, only extension and contraction in length toward the left and right parallel directions. Although the three main branches in the flower arrangement are all on one plane, the insertion of each flower branch also has long and short, far and near, and can also form a dynamic tendency. Generally, the first main branch is inserted on one side of the flower vessel, the second main branch on the other side, and the third main branch is inserted according to the balance of the work's center of gravity. For example, the first main branch extends to the left front at about 85° to the vertical direction, basically horizontal with the flower vessel; the second main branch is inserted to the right at about 75°, and the third main branch is inserted slanting upward at about 15° or tilted forward greatly, mainly depending on the need to balance the work's center of gravity; finally insert the accompanying secondary branches. Of course, this is not the only styling; there can be many variations. For example, when the flower vessel is placed on one side against a wall, the first and second main branches can appear on the same side, and the balance relationship is resolved by the third main branch. In actual flower arrangement, a styling at a flat angle rarely appears, that is, there is no absolutely horizontal flower arrangement styling; horizontal spreading is only relative. Under normal circumstances, the flower branches vary within 15° above and below the horizontal line. The coordination of horizontal-spreading flower arrangement is relatively difficult to master, and one should try as much as possible to achieve a certain balance relationship among the flower branches. The main branches spread out in the horizontal direction in the container, and may be 180° or slightly tilted up or down. Key points for insertion---a tall vessel is preferable, to avoid the work being too stiff and monotonous.
(3) Slanting composition: The main branches are arranged in a slanting layout in the container, marked by the first main branch slanting to one side of the flower vessel. It is used to express a landscape of winding ruggedness or swaying in the wind. This style of flower arrangement has a certain natural state, like those branches bent and pressed down after wind and rain, growing upward again, containing an unyielding and tenacious spirit; it also has the charm of waterside flowers and trees with "sparse shadows slanting across." Its posture is elegant and refined. The position shown by the first main branch is within the two 90° ranges from 30° to the left and right of the vertical line, to 30° below the horizontal line. The first main branch of the slanting form has the largest range of variation and can determine the position of the flower body within the left and right 90°. But when determining the position of the first main branch, one should avoid as much as possible the position intersecting the horizontal line of the flower vessel mouth, and it is even more taboo for the three main branches to be inserted at the same horizontal level. The second and third main branches both vary around the first main branch, but they are not restricted by the placement range of the first main branch; they can be upright or drooping. In short, the principle is to form the best echoing posture with the first main branch and maintain a unified trend. This is just like freely growing flowers and trees all facing one direction and competing to obtain sunlight. Example: Insert the first main branch in front of the pin holder, first vertically, then slowly press the branch downward and forward-left with the hand until it forms 45° with the vertical line and tilts forward 15°; insert the second main branch at the left front of the pin holder, forming 15° with the vertical line; insert the third main branch at 75° to the right front, and it can be inserted near the right side of the basin; finally insert the secondary branches and other floral materials respectively; the focal point can be formed by the middle main branch plus an identical secondary branch. The first main branch can also be tilted 45-70° to the right front, and the second and third main branches also change accordingly; the second main branch can vary within 15° around the vertical line, and the third main branch can vary within 50-75° on the opposite side, but the three main branches always maintain a unified trend. The slanting composition has a strong sense of movement; pay attention to maintaining the work's center of gravity and do not lose balance.
(4) Drooping composition: The main branches are in a drooping posture in the container, most suitable for expressing a soft, graceful, light and romantic character. It is marked mainly by the first branch hanging and drooping on the flower vessel, shaped like high mountains and flowing water, a pouring waterfall, and also like vines hanging on a cliff. The flower branches should be soft branches and trailing vines, clear, sparse and smooth, making their lines concise yet exaggerated. A tall vessel is preferable, maintaining the balance of the work's center of gravity; the display position of the work should be higher than the line of sight. There is no clear regulation on the length of the floral materials used; they can be longer or shorter, mainly determined according to the flower vessel and display position. The position where the first main branch is inserted into the flower vessel is within the 120° range below the parallel line, curving from top to bottom beyond 30°. Generally, the first main branch does not descend directly from the flower vessel mouth, but first extends obliquely upward and then hangs downward in a smooth curve, which is better. Flower branches can maintain their bending degree, making the work full of the beauty of curve variation. For example, English ivy can have some leaves removed to reduce the weight of the branches and let them hang naturally; metal wire can also be used to bend them mechanically. If flower branches are used, the orientation of the flower heads should be consistent with the viewing angle. If the viewing angle is high, the flower heads face downward; if the viewing angle is low, the flower heads face upward. The ornamental side of the flowers should face the viewer's visual point to maintain the best viewing angle. The second main branch is inserted slanting upward at 15° to the left front or right front (in the same direction as the first main branch), and the third main branch is inserted at 75° in the opposite direction forward, forming an angle of about 100° with the first main branch. The insertion of the second and third main branches mainly serves to stabilize the center of gravity and perfect the work. Their insertion positions can vary, but they likewise need to maintain consistency of trend. They cannot each face their own direction.
(5) Landscape composition: It is one of the composition forms commonly used in Eastern artistic flower arrangement. This kind of composition is more often used in flower arrangement exhibitions and less often for decoration of the home environment. It captures a representative corner of a natural scene and simulates it in a small vessel, such as willows by a pond in spring, reed flowers like frost in late autumn, and so on, expressing a single or combined natural landscape. This means of artistic creation has the same wonderful effect as garden making or bonsai. One branch reveals a forest, a foot of water is a sea, one leaf is a sail, broken flowers suggest snow; through the clever combination of flowers and leaves expressed within a small space, it is most suitable to use a shallow-dish container for expression. A general method of expression can use one natural basic flower form inserted on one side or in one corner of the basin to express naturally growing plants, while leaving blank water scenery or open fields on the other side. The blank space left in the water basin can bring people more spatial imagination; alternatively, 2-3 groups of natural-style basic flower forms can be arranged unevenly in the basin in a scalene triangle manner, but the flower forms should differ in primary and secondary status, and some of the floral materials used should be the same, so that the primary and secondary flower bodies echo each other and the styling becomes more complete.
III. Main Forms of Japanese Flower Way
Japanese flower arrangement is called Kado in Japan. Over a long historical period, many schools have formed. Each school has its representative flower form.
1. Rikka: It is the representative flower form of the Ikenobo school. It means standing flowers. Its true artistic conception is to express the wild charm of natural landscape. It is generally composed of 7-9 floral materials, with pine, Chinese juniper and cypress as the main floral materials, symmetrical left and right and standing upright, with rigorous composition. Note that the bases of the floral materials must be inserted vertically together, located in the middle of the container.
2. Shoka: It is the representative flower form of the Koryu school, also called kakubana. It means growing flowers. The flower is composed of three main branches---shin, soe and tai---forming a scalene triangle. Shin represents heaven, soe represents man, and tai represents earth; heaven and earth harmonize and give birth to life. The greatest characteristic of shoka is that the floral materials are few but refined, the composition is concise, and flowing lines and exquisite flower vessels are used to express and reproduce the natural beauty of the growth of floral materials. Note that the bases of the floral materials still must be inserted vertically together, located in the middle of the container.
3. Moribana: Created by the Ohara school. It means flowers blooming in a shallow basin. Its characteristic is that flowers are inserted in a water dish or wide-mouthed flower vessel, showing a sense of volume and beauty of color while expressing the beauty of natural landscape. Note the overall sense of compactness, and appropriate decoration should be made at the water edge and the insertion opening.
4. Free flowers: Created by the Sogetsu school. It means as intimate as grass and as bright as the moon. Also called avant-garde flowers. It breaks through traditional forms, emphasizes combination with real life, and creates more freely. It often emphasizes the exaggeration of beauty and freely creates with abstract and imaginative methods, achieving the realm of natural beauty and abstract beauty pursued by the author.
Composition and Expression Techniques of Western-Style Flower Arrangement (1) Composition
1. Skeleton flowers: Determine the basic shape, size and direction of the flower form.
2. Focal flowers: (1) Located at the center of the styling, or at the middle-lower position, sometimes pressed at the bottle mouth; they should be emphasized and their effect brought out.
(2) If the flower arrangement work has crossings and turns, the position of the focal point should be at the crossing or turning place of the work.
(3) When handling the focal point, it must not be top-heavy.
(4) The floral materials generally used at the focal point position are special-form floral materials.
Technique: Place the floral materials to be inserted on the table, select the largest and most beautiful one, the one blooming best, as the focal flower, and insert it at the focal point position. Western-style flower arrangement sometimes may also have no focal flower.
3. Filler flowers: Traditional Western-style flower arrangement has fewer gaps. Commonly used ones include baby's breath, sea lavender, asparagus fern, small chrysanthemums, and so on.
(2) Expression techniques
1. The work's appearance is clear and has a strong three-dimensional feel.
2. Attach importance to color design.
II. Basic Forms of Western Flower Arrangement
The floral foam is 2-3 cm higher than the flower vessel; use waterproof adhesive to fix the floral foam to the flower vessel.
(1) Triangle form
It is a single-side-view flower. It is the most common basic styling, expressing luxury and grandeur. Key points for insertion---the proportions of height, width and depth are well-balanced; the vertical flower axis tilts slightly backward, but does not exceed the vertical plane of the container edge, generally maintaining about 15°; the horizontal flower axis closely follows the container edge and spreads at 180° or slightly embraces forward.
1. Setting the form (skeleton): The vertical flower axis is located a little behind the center of the flower vessel, tilts backward about 5°, and its length is 1.5-2 times the flower vessel's (length + width). The left and right horizontal flower axes are equal in length to the main axis; generally the side branch on one side can be about 1/3 of the vertical axis. Insert a short flower axis directly in front, forming 90° with the vertical flower axis; this is the axis that determines the depth of the flower form, making the flower three-dimensional, and its length is generally 1/4 of the vertical flower branch.
2. Focal flower: If there is a special-form focal flower, at the lower 1/3-1/4 of the midline, insert 1-2 flowers as the focal point; the position of the flower should be on the line connecting the fixed points of the vertical axis and the front axis, at 45°.
3. Filler flowers: Besides the main flowers and the focal point, insert small flowers and leaves of varying lengths around them to make the flower form full. Filler flowers should be lower than the main flowers and should not exceed the main flowers. Sometimes, to create a hazy effect, materials such as baby's breath may also be higher than the main flowers.
Note:
1. Various floral materials should be inserted within the triangular skeleton and must not exceed the skeleton range.
2. Flowers should not all be inserted on the same plane; they should be high and low staggered to increase the sense of layers.
3. Filler flowers should as much as possible not be higher than the main flowers.
(2) L form
Generally a single-side-view flower. It is placed at the corner of a windowsill. The flower form is composed of a long vertical axis and a shorter horizontal axis forming the skeleton. Key points for insertion---emphasize the vertical and horizontal lines; at the right-angle intersection, the flower quantity should not be too much; the vertical flower axis tilts slightly backward, and the horizontal flower axis follows the container edge and spreads at 180°; pay attention to the stability of the center of gravity and the balance of height, width and depth.
1. Setting the form (skeleton): The vertical flower axis is at the left rear of the flower vessel. The left side and the front axis are shorter, about 1/4 of the length of the vertical flower axis, giving the flower form a three-dimensional feel.
2. Focal point: Within the two short axes the flower branches are dense, and this is also where the focal point is; then it extends outward, and the floral materials gradually decrease.
3. Filler flowers: Same as above.
Note:
1. The horizontal axis must not be too long; the vertical is long and the horizontal is short. If the flower vessel is slender and tall, the horizontal axis should be even shorter.
2. The focal flowers are concentrated at the base of the L, with a height of 1/4 of the vertical axis.
3. For the vertical line and the long horizontal axis, floral materials with a strong linear feel should be used.
(3) Inverted T form
Often a single-side-view flower. It is a symmetrical but relatively lively and elegant styling. It is composed of two main axes, horizontal and vertical, and a short axis directly in front. The styling is similar to the triangle, but the flower quantity within the line connecting the vertical and horizontal flower axes should be less and lower. Key points for insertion---the height is equal to the base edge or slightly higher than the base edge. The vertical flower axis tilts slightly backward, and the horizontal flower axis follows the container edge and spreads at 180°.
1. Setting the form (skeleton): Similar to the triangle; first set the vertical flower axis, with the left and right lines equal in length, but the total shoulder width must not be too long, generally 2/3 of the vertical axis; the front short axis is 1/4 of the vertical flower axis, forming 90°; the outline is formed by 4 flower branches.
2. Focal flower: The position is the same as in triangular flower arrangement.
3. Filler flowers: After forming the T shape, the remaining floral materials should be inserted within the outline line.
Note:
1. The floral materials of the inverted T form should as much as possible be concentrated near the focal point. Flowers must not be too densely packed with one another; there should be a sense of layers.
2. The vertical line must remain vertical, and the horizontal line should be horizontal or drooping, and must not turn upward.
(4) Crescent form (new moon form---single-side view)
The crescent form is also called the "crescent moon" form. It is a styling conceived from the shape of the natural phenomenon "crescent moon." Therefore, when shaping it, attention should be paid to the flowing feel of the lines. The crescent shape can change with changes in floral materials. It has a strong beauty of curves and also considerable ornamental value. The flower vessel should not be too tall; one with a wide mouth is most suitable. It is very suitable for being placed against a round mirror or round plate on the back, and its occasions of use are wide. It is pointed at both ends and wide in the middle, with the outer shape curved into a line; the left side is longer, accounting for 2/3 of the crescent length. The right side is 1/3. The center of gravity is at the 2/3 point of the crescent. The main branches in the container embrace each other upward left and right in an arc to form a crescent shape; the composition is light and delicate, soft and gentle. Key points for insertion---there is no limit on the height of the container, but it is not suitable for making large-volume works.
1. Setting the form: Use floral materials rich in curves and soft (linear or leaf materials), processed and shaped into the outer contour line of the crescent. The lower curved line is 1/2 of the upper curved line.
2. Focal point: At the center of gravity, at 1/4 of the upper curved line. That is, 45°-60° forward from the center of the flower vessel. The position is the lowest; on the inner side of the main focal flower, an auxiliary focal flower may also be inserted to increase the three-dimensional feel of the work.
3. Filler flowers: Fill along the contour line.
Note:
1. Choose floral materials rich in curves and soft; most flower stems follow the arc and do not deviate from the flower form.
2. The focal flower must not face upward; it should tilt forward 45-60 degrees and be inserted in the center of the container.
3. The upper and lower arcs must not be the same length.
(5) S form (single-side view)
Also called the Hogarth flower form. It was developed by the British painter Hogarth from the ancient spiral line. It is the same as the English letter "S" shape, so it is called the S form. It is a soft and elegant flower form. For S-form flower arrangement, floral materials with curved shapes are better. For the flower vessel, a tall bottle is suitable; if placed on a table, a wide-mouthed flat basin can be used. In terms of visual requirements, a tall bottle with a narrow waist has an even better effect. If the end of the "S" continues downward, it forms a double circle, or something like the "8" shape, but the upper half of the circle must be larger than the lower half. The main branches take the container mouth as the center and form the English letter S shape, actually composed of arcs interlocking left and right, up and down. The S-shaped line is the line with the strongest sense of flow and also the most graceful line. It is a commonly used composition form in artistic flower arrangement and wall-hanging decoration. Key points for insertion---a tall vessel is preferable; avoid making the upper and lower arcs equal in length; generally the upper arc is on the left and the lower arc is on the right, or it can be inserted in reverse.
1. Setting the form: The upper and lower axes should not be equal in length; generally the upper section is 2/3 and the lower section is 1/3, or the upper is short and the lower is long.
2. Focal point: Similar to the crescent form; insert a focal point and an auxiliary focal point to present depth of field.
3. Filler flowers: Same as above.
Note:
1. As with the crescent form, the upper curved line and the lower curved line are not the same length.
2. This flower form can also be placed flat on a dining table as a table flower.
(6) Oval form (four-side view)
This flower arrangement style can serve as one of the representatives of European style. The oval arrangement uses a massed grouping method, with lower demands on structure and contrast; instead it emphasizes natural beauty, atmosphere, and a sense of mystery. This type is best arranged in classical vases and containers. However, when arranging, care must be taken to maintain a sense of stability in the work. Oval arrangements are suitable for church decorations, altars, funerals, or ceremonial occasions with larger spatial requirements. They are suitable for placing on dining tables and conference tables. The container is often a shallow basin or shallow dish. The appearance has a strong horizontal feel. The top view is oval. Key points for arranging ---- the vertical flower axis and the four horizontal flower axes intersect at 90 degrees; the vertical flower axis stands upright without tilting in any direction, and the horizontal flower axes spread 180 degrees along the edge of the container. Generally, the finished work is no more than 30cm in height, the short axis length is less than 1/3 of the table width, and the long axis is generally 3 times the short axis.
1. Setting the form: 5 stems define the framework. The vertical flower axis is no more than 30 cm, at the center of the container. The two short axes are less than 1/3 of the tabletop, and the long axis is 3 times the short axis.
2. Focal point: the central position where the vertical flower axis is located is the focal point.
3. Filler flowers: fill the gaps.
(7) Diamond shape (viewed from four sides)
Diamond-shaped flower arrangement is the most basic tabletop arrangement. The method is simple and the applications are wide, so it has become the most fundamental required lesson in Western flower arranging. The diamond method is similar to the horizontal shape, but emphasizes "corners" as its feature. Because the container will be completely covered by the flowers, a shorter one is better. A flat basin is one of the ideal containers. This arrangement is suitable for placing on conference tables, podiums, coffee tables, and other relatively flat and spacious positions.
(8) Spherical type, hemispherical type (viewed from four sides)
In design, a hemispherical shape is used to form the model. The key points of the arrangement are color coordination, attention to harmony, and avoiding placing the same color adjacent to itself. The surface of the flower shape should be smooth and rounded, not uneven. A low, flat basin is most suitable as the container, highlighting a full hemispherical feel. It extends radially from a central point toward the surroundings, and the outer contour line forms a circle or semicircle. Key points for arranging --- due to the effect of optical illusion, the vertical flower axis should be higher than 1/2 of the bottom diameter to make it look more like a hemisphere. Height and width should be balanced when viewed from all directions.
1. Setting the form: generally five or seven stems of flowers are used to define the outline.
2. Focal flowers: generally there may be no focal point. It is only necessary to note that the flower shape's vertical, horizontal, and height lengths are equal. When arranging, follow the order from top to bottom, inserting the main flowers first to highlight the center of gravity. It is best to insert various flower materials symmetrically.
3. Filler flowers: appropriately insert filler flower materials in the gaps between the main flowers and around the periphery.
Note: 1. The shape should be full and rounded; the surface must not be uneven, and supplementary flowers and leaves must not be higher than the main flowers.
2. The horizontal axis should spread flat at 180 degrees, or slightly downward; avoid upward at all costs.
(9) Radial type
Also called fan-shaped, it is a one-sided-view flower arrangement. Fan-shaped design uses linear flowers; first set the framework, with each stem equal in length, imitating the ribs of a folding fan or similar to a semicircle to create the overall structure. Then use mass flowers to add contrasting beauty. The fan ribs must never use two different linear flowers alternately, and different colors should not be used alternately either, because this will create a very unnatural appearance. The container used may be of any shape. Fan-shaped arrangements are suitable for placing at pillar positions, triangular positions, corners, and other places, and can also be placed in hotel lobbies.
Framework flowers: must be linear flower materials; the background rays should be longer. The framework flower materials should be consistent. Insert layer by layer toward the front. The flowers directly at the front are about 1/4 the length of the framework flowers.
Focal point: located around the lower half of the central line.
Filling: insert filler flowers and companion leaves between the main flowers. To avoid a flat appearance, there must be flower materials spreading forward from the central point, forming a three-dimensional fan surface with a certain thickness in the middle of the bottom.
Key points for arranging ------- the vertical axis and horizontal axis form a semicircle of equal radius. In actual arranging, the vertical flower axis should be longer than the horizontal flower axis so that it visually gives more of a fan-shaped "joining the army" feel. The vertical flower axis tilts back about 15 degrees to maintain balance, and the horizontal flower axes spread 180 degrees along the edge of the container.
(10) Conical type
The shape is for four-sided viewing. The conical design is the same in shape as the Egyptian pyramids, except that it is round. In order to attract attention, its design should be taller. This prototype was first used in Middle Eastern culture, especially in the Byzantine era, when Turkish headwear reminded people of this special design. The conical type displays beauty and stability from all directions, no matter the viewing angle. When designing a conical type from a low-footed container, the second and third stems are symmetrical. Moreover, their length does not exceed the outer rim of the container's upper opening, fully integrating the container into the overall design. The container is generally a low-footed container. The shape is a pointed, elongated cone with a round base.
Key points for arranging ------ the shape should be arranged slim, tall, and upright, with the vertical flower axis not less than 3 times the horizontal flower axis. The vertical flower axis is upright, and the horizontal flower axes are evenly distributed. The lines connecting the apex to each point on the base are soft and clear. From bottom to top, insert flowers from long to short to create the conical shape, gradually making the shape fuller. If the base outline is triangular, a tower shape can be arranged.
Summary
1. About balance
Balance is divided into: 1. Symmetrical static balance. Symmetrical static balance can further be divided into (1) complete symmetry --- meaning the types and colors of flower materials are evenly distributed on both sides of the central axis. (2) incomplete symmetry ---- meaning similar or same-colored flower materials are placed together, giving the work a lively and vivid visual effect. 2. Asymmetrical balance. The balanced effect achieved through factors such as the number, length, size, weight, texture, and depth of color of the flower materials.
2. Stability
Stability is one of the important standards of formal beauty. Generally, the lower the center of gravity, the easier it is to produce a sense of stability. Therefore, in flower arrangement works there are so-called requirements such as light on top and heavy below, scattered on top and gathered below, light on top and dark below, and small on top and large below.
3. Key principles of Western-style flower arrangement
A. Flower colors should emphasize harmony and coordination. You may choose the same color or colors from the same series to achieve a mutually connected and complementary effect.
B. The composition must consider overall balance; either symmetrical balance or asymmetrical balance may be used.
C. The layout should be even and well-organized, with clear primary and secondary distinctions, so that viewers can easily understand the creator's intention.
D. Repetition and symmetrical structure are features of Western-style flower arrangement, and more effort should be put into this aspect when arranging.
E. The variety of flower materials should not be too many, and when combined together they must not be too dense. Losing space means losing layering, which affects the beauty of the work.
F. The work must have an obvious center of gravity.
G. Large flower containers more easily give people a sense of stability and solidity.
H. Flower materials that are too thick and large often lose graceful lines and are difficult to use in arrangements intended to express line.