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『撒』的由來與發展

日本著名花藝大師水上雃夫先生執著研習『撒』更為精道,我曾多次目睹水上先生的表演,其『撒』的製作與應用十分精彩,

他巧妙地將李漁『撒』的理念與現代花藝架構方法相結合,使『撒』的製作更深化更廣泛化,不限於插瓶花的應用,可以在任何器皿中應用;

不限於在器皿內還可以在器皿外,在架構上應用;製作『撒』的材料除莖段外,還可以使用任何的枝材、葉材和果材等等。

水上雃夫先生創作如此多姿多彩的現代『撒』之技法和其插花作品充份展現了簡樸、自然之美,並表現了強烈的環保意識,這種古為今用、與時俱進、創新不割斷歷史的藝術創作思想與刻苦鑽研精神令人十分敬佩,值得學習和推廣。

王蓮英
中國插花花藝協會常務會長
北京林業大學教授
2008年夏‧北京


The Origin and Development of “SA”

Eminent Japanese floral art master Masao Mizukami assiduously practices ‘sa’, turning it into a fine art. I watched him demonstrate several times and observed how expertly he wove Li’s concept into the structure of his modern designs.

Under his hands, ‘sa’ has evolved more deeply and widely. Besides using it for arranging flowers in vases, it can be applied to any container, inside or outside, and even on design structures.

The materials for ‘sa’ are not restricted to plant stems only. Branches, leaves and fruit may be used instead. Mr. Masao has put ‘sa’ into numerous delightful and creative modern applications.

His floral designs always reflect a simple and natural beauty besides sending out a strong message of environmental protection. The way he makes use of traditional methods has improved with time and innovates without spurning history. This, and his propensity for hard work, should make him a paragon to emulate.

Wang Lianying
Chairman, Association of Flower Arranging and Floral Art of China
Professor, Beijing University of Forestry
Summer 2008, Beijing