The Japanese have an innate sense of style in the arts, architecture, interior design and especially in their attitude to flowers and plants within the home. Until now, in the West we haven't explored ikebana, the ancient art of arranging plant material, in any great depth. With the trend towards pared-down, simple rooms, now is the time to discover how its sculptural style can complement contemporary interiors. "Ikebana" is much more than simply flower arranging. Over the centuries, Japanese masters have developed precise rules that take into consideration the natural shapes and lines of plants, the space around them and the best way of displaying them. In Japan, ikebana is practised by millions of people as a relaxing art form and is even part of the school curriculum. Diane Norman is a master of the Ohara School, which is known for its modern interpretation of traditional styles. Michelle Cornell has an art history background, and together they have written a book that brings ikebana into the twenty-first century, explaining how its sculptural qualities and calm creative techniques are perfectly suited to today's interiors, as well as being an ideal antidote to the stresses of modern living. After a brief history of ikebana, the book guides you through the basic techniques needed to create your own arrangements. Then a selection of arrangements illustrates the importance of the changing seasons in choosing plant material, while fantastic free-style designs show how ikebana can echo specific details of an interior.
Diane Norman is a Master in the Ohara School of Ikebana and is a member of Ikebana International, the European Ohara Teachers Association and the England Chapter of the Ohara School. Diane runs a school of ikebana with day classes, workshops and residential courses. She also demonstrates and lectures on ikebana all over Britain. Further information may be obtained from www.ikebana.uk.com. Michelle Cornell organises workshops in London for people wishing to learn ikebana. Her background in art history and design, and her interest in healing art forms have led her to promote ikebana on a spiritual level as well as an aesthetic one.
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这本书的封面设计简直是视觉的享受,那种留白的处理和色彩的运用,一下子就抓住了我的眼球。拿到手里,就能感觉到纸张的质感非常棒,厚实且带着一种天然的纹理,翻阅时都能享受到一种安静的仪式感。内页的印刷色彩还原度极高,无论是花材本身的娇嫩色泽,还是花器表面的微妙光影,都处理得极其到位。尤其是一些特写镜头,简直可以作为独立的艺术品来欣赏。装帧的工艺也看得出是非常用心,书脊的缝合处处理得很平整,即便是经常翻看,也不用担心散架的问题。那种拿到一本值得珍藏的书籍的感觉油然而生,它不仅仅是一本教授插花技艺的书,更像是一件精心制作的工艺品,放在书架上,本身就是一种对美的致敬。这种对细节的极致追求,让我对里面内容充满了期待,仿佛光是触摸这本书,就已经汲取到了几分东方的静谧之美。
评分从一个纯粹的“使用者”角度来看,这本书的实用性毋庸置疑,但它带给我的最大价值,在于它重塑了我对“空间”和“留白”的理解。插花不再是填满花瓶的竞赛,而是如何利用有限的花材,去定义和强调周围的空间。书中对“负空间”的讲解非常到位,那种“此处无声胜有声”的艺术处理方式,是很多市面上其他书籍会忽略的重点。它教会我如何运用线条的延伸和方向感,去引导观者的视线,并最终将焦点集中在作品的“呼吸感”上。我尝试着将书中的一些基础布局运用到家居装饰中,仅仅是调整了客厅里一个角落的植物摆放方式,整个房间的气场似乎都变得更加通透、更具呼吸感了。这不仅仅是插花的技艺,它已经上升到了环境营造的哲学层面,非常值得深入研读和实践。
评分我对日式美学一直抱持着一种既好奇又敬畏的心态,而这本书的文字部分,完全满足了我对“禅意”的想象。作者的笔触极其细腻且富有哲思,她不只是在讲解“如何插一枝花”,更是在探讨“为何要这样插”。阅读过程中,我时常需要停下来,反复琢磨那些描述花材与空间关系的句子,那种“一期一会”的匆忙感,如何在静止的造型中被捕捉和永恒化,真的令人深思。文字的节奏感把握得非常好,时而如潺潺流水般平缓引导,时而又像精准的落笔般直击要害,清晰地阐述了不同流派的核心精神。对于一个对东方哲学略有涉猎的读者来说,这本书提供了一个极佳的切入点,去理解“不完美中的完美”这一核心概念。它引导我超越了单纯的装饰性层面,开始用一种更深层次的眼光去看待自然界的万物形态。
评分这本书的结构安排简直是教科书级别的流畅,完全没有一般教程书那种生硬的逻辑跳跃感。从最基础的材料选择和工具准备讲起,循序渐进地过渡到对基本造型原则的解析,然后才慢慢展开到复杂的创作实例。最让我欣赏的是,它没有将所有的“规则”一次性倾倒给你,而是通过大量的“案例解析”来巧妙地渗透规则。每完成一个章节的学习,你都会有一种“原来如此”的豁然开朗感,而不是被一堆术语压得喘不过气。这种由浅入深、以点带面的教学方式,极大地降低了学习的门槛,即便我是初学者,也能很快找到自信,敢于动手尝试。它成功地搭建了一座从理论到实践的稳固桥梁,让人感到每一步的探索都是扎实可靠的。
评分这本书中对“季节感”的把握,简直是出神入化,让我对时间流逝有了全新的感官体验。作者显然是一位对自然节律有着深刻体悟的大师。书中对不同季节应选用何种枝条、花材的搭配禁忌与妙处,都有着详尽而充满诗意的论述。比如,在描述初春的插花时,文字中仿佛能嗅到泥土解冻后的湿润气息,以及新芽破土而出的那种勃勃生机;而到了深秋,笔锋又转为沉稳和内敛,强调那种带着枯黄和凋零之美的残缺韵味。这种对“时间痕迹”的尊重和捕捉,使得书中的每一个作品都像是凝固的时间切片,而不是永恒不变的雕塑。这让我明白,真正的插花艺术,是与自然保持对话的持续过程,而不是一次性的摆放。
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