Now I am learning about the history / background of a famous Japanese artist and his works.
It may be said that I am understanding the artist himself so that I can learn how to appreciate his works, the transformation of this souls and spirits.
This artist became famous in the United States first. Presumably, there should be an art dealer who promoted this artist to the United States. I watched the YouTube video in which that dealer commented on his works.
The dealer was an American who is doing Japanese flower arrangement.
You can tell just by looking at the work. I thought it was probably Sogetsu or Ohara style.
Sure enough, he said, “I learned Ikebana in the Sogetsu school.”
-Ja sabia !!-(I knew that already …) I talked to myelf in Portuguese.
I am studying flower arrangement in the Souami style.
From the beginning, I thought that the flower arrangements other than Souami would not be Ikebana any more. For me it was nothing in learning flower arrangements from other schools than Souami.
In Souami, the “class “ and “depth”are different from other schools.
Ikebana that foreigners are likely to fond of has some patterns and features.
The beauty of shape, contrast, and balance. Of course, I’m not saying it’s bad.
I am just telling that they are not what I want to learn …
Their work basically has no philosophy. At least I can’t see philosophy.
The translation of their work into English is a “flower arrangement”.
However, the work of Souami school cannot be understood in English. I always use the words,”
Visualized philosophy” when I describe Souami style arts.
I have no intention of criticizing any particular school.
However, from my point of views those schools have been developed to please people who have similar sense to that dealer. Therefore, it is natural for this art dealer to demonstrate his work as a Japanese Ikabana creation.
If he had shown me the classic Souami style Haran, the green leaves, I would say that this person is really different. He really understands Japanese philosophy more than do Japanese.
