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By FUNG Kit Yee Dodo AIFD

East meeting West – how to create vertical line 垂直線條

花藝其實和畫壇差不多，有著各種各樣的流派，也各具歷史的元素。在」The AIFD Guide to Floral Design」書本提到，美國花藝設計是後來受東方與西方花藝的線條表現的影響，促成複式線條「Line-Mass」設計。

You may be surprised to learn that painting and floral design have many striking similarities. Both art forms come in various genres and historical background in the design world. As mentioned in the book “The AIFD Guide to Floral Design”, American floral design was influenced by Eastern and Western floral expressions, which later led to the design of the double “Line-Mass”.

線條之所以厲害，不單是設計元素之一，在西方花藝設計的運用上，線條是一種表現不同程度的動態和靜態，為設計設定構圖，也引領觀賞者的視覺注視路線。

The Line is seamless and it is one of the most powerful elements in a design. When applied to Western floral design, line can be used to convey both dynamic and static expression in different degrees. It sets the tone of a good composition; it helps viewers’ eyes to naturally settle on the design.

我們先來聊聊東方花藝的根源-中國傳統花藝的自然線條。東漢末年佛教的傳播啟動了佛前供花的普及，並發展了容器插花的藝術形式，文人以自然為友，擷芳採翠，借作品崇尚自然。花藝作品的線條表現是造型重要的組成部分，創設意境美，抒發感情，也可表現作品的焦點，這與中國國畫同出一轍。

Let us begin with the roots of Oriental style of flower arrangement, which uses the principles of line, form and meaning to reflect the natural realm.  The spread of Buddhism in the late Eastern Han Dynasty started the popularization of offering flowers to Buddha at altars to express faith, and later developed into an art form of flower arrangement in containers. This is the beginning of using lines in floral work to make an important message by creating a beautiful artistic expression, conveying emotions, and also pointing out the focal point of the work, which is the same as Chinese traditional painting.

圖 1借用中國傳統花藝大師謝曉榮老師畫作

花藝大師對線條使用的精確，線條跨領月亮至雲端，在2D空間裏創造了一種立體感和活躍感, 人物（抱著玉兔的嫦娥）就有了生命，細弱柔軟的動態線條在畫框內展現溫馨柔美的韻味，觀眾也更容易」入戲」。

Plate 1

Borrowing the works of traditional Chinese flower arranging master, Teacher Xie Xiaorong.

The florist master’s precise use of lines paints a picturesque night scenery that captures the moon hanging on the clouds, creating a sense of three-dimensionality and activity in the 2D space. The key characters of this beautiful arrangement (Chang’e in the Moon Palace holding the jade rabbit). She used dynamic thin and soft lines to describe the scenery. When comparing to a beautiful picture in a frame, it shows a warm and soft charm, makes it easier for the participants to “enter the play”.

中國傳統花藝含蓄而深蘊，線條表現自由，或直或曲，或俯或仰，各具自然美態，線條帶出意境的美。中國傳統插花在2008年6月14日經審批進入中國國家級非物質文化遺產名錄，見證了美學元素的結合及文化的價值。

Traditional Chinese flower art is subtle with profound meaning; lines are used in a free form manner, expressed in a straight, curved or tilted manner. Through skillful use of each line, it is able to express its natural beauty, to bring out the attractiveness of an artistic conception. On June 14, 2008, Chinese traditional flower arrangement was approved by the National Government and entered into the National Intangible Cultural Heritage List, witnessing not only aesthetic value, but also, historical and cultural contexts.  

在中國傳統插花藝術的線形構圖基本形式內，以最少三大主枝線條構成一個簡單的三維立體造型骨架。劃分為四種基本圖形形式：直立式、傾斜式、水平式和下垂式，各有各的絕活，本篇和大家聊一下我對中國傳統花藝和西方經典的直立式的認識。

Within the basic form of linear composition of a traditional Chinese flower arrangement, we see a simple three-dimensional design formed by at least three main branches. They are divided into four basic graphic forms: vertical, slanting, horizontal and dropping, each requiring its own unique supporting technique to insert. In this article, I will talk to you about my understanding of traditional Chinese flower arrangements and Western classic vertical styles.

示範一：中國傳統插花-直立式(使用劍山)

突出高聳感覺，使用垂直的線條為主，開張角度不大於30度，產生陽剛之氣，表現庒重而尊嚴。加入了一些側伸線條, 打破花材直立及花器水平線條的僵硬，自然中仍保持整體的直立挺拔感。

中國傳統花藝是花材人文精神的美感表現，除了器皿的使用，几座的選用以致裝飾擺設都十分講究，構成整體的意境美。

Demonstration 1: Chinese traditional flower arrangement – vertical (mechanic : Kenzan)

To highlight the towering feeling, by using vertical lines as the main lines, and the opening angle is not more than 30 degrees, which express the inner spirit and conveys outer masculinity and dignity. Some side-stretching lines are added to break the rigidity of the vertical line of the flower and the horizontal line of the flower, giving an overall uprightness yet still maintaining its natural beauty.

至於西方垂直式花藝設計，在」The AIFD Guide to Floral Design」書本提到: 西方垂直式設計是一種高而窄的花卉組合，其中主要的線條被誇大，並垂直地放置於水平線的平面或表面上。垂直設計通常只是勉強或根本不超出容器的寬度。

這裏我想起安格爾Jean-Auguste-Dominique Ingres 給竇加Edgar Degas 的那段話，「年輕人線條畫許多許多的線條，不是根據自然，而是根據記憶」。這好像又和垂直式扯不上關係，就是突然間想起這一段話。

As for Western Vertical Floral Design, quoting from “The AIFD Guide to Floral Design”: Western Vertical Design is a tall and narrow floral composition in which the main lines are exaggerated and placed vertically on a horizontal or flat surface.  Vertical designs normally would not be arranged beyond the width of the container. (VERTICAL DESIGN: a tall, narrow floral COMPOSITION in which the predominant LINE(S) are elongated and PERPENDICULAR to the PLANE of the horizon or the surface upon which the arrangement is placed. A vertical design typically extends just barely, or not at all, beyond the width of the CONTAINER.)

Here I am reminded of the words of Ingres Jean-Auguste-Dominique. Ingres to Edgar Degas, “Young people draw many lines, not according to nature, but according to memory”. This doesn’t seem to have anything to do with the vertical style, this is a good reminder, I suddenly remembered this paragraph and would like to share it with you.

示範二：直立式花型Vertical  (使用FibreFloral Design Media)

傳統直立型的變化花型「Interpretive」, 放射插作不對稱花形，表現直立形狀。

Demonstration 2: Vertical Style (mechanic : FibreFloral Design Media)

A variation of the traditional upright “Interpretive” style of arrangement.  To make an imbalance shape by inserting an asymmetrical flower design. To express an upright shape.

示範三：

傳統直立型的變化花型「Interpretive」,平行插法。(使用鐵絲網技巧)

Demonstration 3: A variation of the traditional upright “Interpretive” style, by using a parallel insertion method. (mechanic : Chicken wire)

個人認為，中國傳統與西式的直立式，各有美態，這裡佔用一點兒篇幅和大家分享，做了三個無花泥技巧作品舉一下例子。我不敢説這是一篇好文章，至少求同音，甚至只是增加些談資，就已經開心得不得了了。 Personally speaking, I think both the traditional Chinese and Western upright styles have their own beauty.  I would like to take up a little space here to share with you some of my thoughts. I have also prepared three foam free visual examples for your study purposes.  I dare not say this is a good article, but it is my attempt to share my knowledge and passion with fellow floral artists, to continue to run this race of achieving higher goals in floral art expression together, to be able to do this will make me very happy.

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