带给人笑容的庭院—日本造园家石原和幸专访
2018-05-10采访马嘉整理张博雅马嘉
采访：马嘉 整理：张博雅 马嘉
访谈人物：
（日）石原和幸/1958年出生于日本长崎县/株式会社石原和幸设计研究所代表、著名的日本庭园设计师/设计以植物应用见长
Profile:
Born in Nagasaki, Japan in 1958, Ishihara Kazuyuki is the celebrated Japanese garden designer and representative of Ishihara Kazuyuki Design Laboratory Daikanyama Kadan Co., Ltd.
石原和幸先生是活跃在当今日本和世界庭园设计领域的顶尖设计师之一，他从2004年开始连续参加园艺领域最具声望展览—英国切尔西花园展，至今共获金奖9枚、白银奖1枚、银奖2枚，奖牌和参展类别最佳花园奖的双料奖4次，并于2016年获总统奖（The President’s Award）。2017年，石原先生受邀参加2019年北京世界园艺博览会国外设计师创意展园项目，这次的作品将于2019年在北京正式亮相。
石原先生早年师从日本花道“池坊”派①，后转向庭园设计，其作品以植物应用见长，最擅长使用苔藓、日本枫、造型针叶树等日式元素。在他的设计中，他力求庭院可以带给人们笑容。本刊记者对石原和幸先生进行了专访，详细讲述其职业历程、设计哲学和对行业的展望。
LA：《风景园林》
Ishihara：石原和幸
从花道到庭园
“对我来说，庭园和插花是一样的。”
LA：石原先生目前作为一名庭园设计师活跃在日本和世界的舞台上，我们从资料得知您在成为一名庭园设计师之前，曾入门日本的花道流派“池坊”，您是出于什么原因从花道转向庭园的呢？
Ishihara：最开始是想从事有关花卉和植物的工作，通过“池坊”的学习进入这一行业。以前做鲜切花的工作时受到客户的委托，那位客户非常喜欢我用插花技术设计的庭园，从那以后逐渐开始通过插花的创意和构思设计庭园。在插花的世界里不仅仅有春夏秋冬四季，更需要感知一年365天的季节。为客户设计365天的景色这一想法，插花和造园是一致的，所以对我来说庭园和插花是一样的。
LA：日本传统插花在世界上非常有名，能否给我们简单介绍一下在“池坊”会学习哪些方面的知识？
Ishihara：首先是上述所说的“季节”，还有一点是用最简单的花卉表现复杂的空间感，我通过学习插花学到了空间和季节的创造手法。
LA：您认为庭园与插花在空间创造方面也是相同的吗？
Ishihara：Yes。假设在“池坊”用3根树枝表达空间，那么这个空间无论大小，利用远近感是进行枝条构成最重要的部分。所以我认为通过绿色创造空间，正是因为可以驾驭小的空间，大的空间也可以做到。
切尔西花展上的东方面孔
“那时候没有钱，就把自己的家卖掉，用卖房子的钱参加。”
LA：能否向我们简单介绍一下您参加花展之前的经历呢？比如说您是一直从事花卉工作的吗？
Ishihara：那之前我一直在日本从事花卉的工作，后来想尝试进行更大尺度的城镇设计和更为国际化的工作，这时我了解到切尔西花展。希望能在切尔西花展获得冠军，扩展设计的眼界。此外，作为专业人士只在日本而没有得到世界认可归根结底是不行的，出于想在世界上设计庭园的想法，开始挑战切尔西花展，以此为开始国际化工作的契机（图1）。
LA：最初参加切尔西的时候，参展作品是否很快就得到了英国人的理解和认同？
Ishihara：这个很困难。虽然很难，但是我认为好的作品是不需要语言的。而且刚开始我的水平还很低，通过坚持参展自己也得到了很大提升。我觉得不论英国、日本还是中国，看到好的作品大家就会不由自主“哇”地赞叹，语言会统统变成拟声词。所以我的目标是设计不需要说明的庭园，能让观众惊赞的庭园。
LA：在目前为止的切尔西参展作品里有您比较满意的作品吗？
Ishihara：我每年都在参展，每次都希望创作出最好的作品。因此目前来说，2017年的“御所之庭”，在我心目中是完成度最高的作品（图2～4）。 “garden”的语源是“guard”，源于战争的词语。而“御所”的围墙很低，没有被攻打和防御的想法。因此我认为围墙低、开放是和平的标志，2016年萌发了这个庭园的设计构思。2018年也一定会努力将超越今年（2017年）的作品通过切尔西展示给全世界。
LA：到您获奖为止，或是创作出完成度高的作品为止，有很多经历也积累了很多经验。这过程想必不简单，您克服了怎样的困难呢？
Ishihara：切尔西需要在有限的时间里创造高质量的庭园，就连今年（2017年）的庭园也不能被称为完美。短时间内创作高质量的庭园时，会有好的地方，但每次也有缺憾之处。在下一年修复设计缺点，再将积累的经验应用到其他作品中。因此，切尔西花展对我来说既是挑战的舞台，也是提升庭园设计水平的地方。
LA：据我们所知花展需要投入大量的精力、人力、财力进行准备，准备时间一般是多久？参展所需的资金和员工是如何运作的呢？
Ishihara：我每年都参加切尔西花展，例如2017年，做当年的作品时就开始考虑下一年的设计，再用一年时间自行调整。所以在花展上虽然是用一周到10天的时间制作，但实际需要用一年时间来考虑设计的问题。
此外，在资金方面，一年之中大部分时间尽量在世界各地设计庭园，收入的一部分用于切尔西花展。在人员方面，通常是约40人的团队，其中常驻员工将近20名，包括木匠、泥瓦匠、电工等工匠以及后勤人员；另外，为了让大家了解、体验英国的切尔西花展，每年也会带20个新人或者是正在学习景观的学生到这个挑战的舞台。其中99%都是从日本带去英国的，团队的交通费、住宿费，参展的材料费全由我们公司负担。
所以说每年参展是非常难的，因为要同时运作庞大的资金、人力和设计。截至2017年共参加12次，自己各方面的水平通过参展也得到了很大提高。
LA：能否向我们详细介绍一下团队中的工匠，比如说您刚刚提到的木匠？他们全部是采用日本传统工法的工匠吗？
Ishihara：工匠之中首先需要建造建筑物和基础的木匠，然后石头之类材料的加工、贴面、善于使用水泥的灰瓦匠，进行树木修剪、种植的植木匠，还有进行电气、水景施工的电工。
1 2016年切尔西花展获金奖、总统奖作品—千里千庭Chelsea Flower Show 2016 Gold Award, The President Award “Garage Garden”
LA：我们从您的花展作品资料中了解到您会在作品中使用一些日本传统造园要素，用的是哪里的材料呢？
Ishihara：建筑会在日本预先组装一次，并进行多次调整，在日本做好后空运至英国进行组装（图5～7）。植物、土壤、石材等全部从英国或是其他欧洲诸国引入，在英国进行调整之后再使用。
LA： 能否告诉我们您在作品里大量使用苔藓的理由？插花中也会用到苔藓吗？这些苔藓是英国当地的吗？
Ishihara：苔藓在世界上有非常多的种类，从高山到低地，在哪里都能找到苔藓，但是苔藓需要一定的湿度。现在世界正逐渐变得干燥，人们看到苔藓总会不由自主地感到温和放松。所以我想在能使用苔藓的时候尽量用，而且希望漂亮的苔藓能为大家带来笑容。但是在“池坊”插花时不使用苔藓，现在作为我自己的风格，会经常在插花里用到苔藓。
我的作品中使用最多的苔藓有2种，一种是挪威的品种，桧叶白发藓（Leucobryum juniperoideum）；另一种是大灰藓（Hypnum plumaeforme），细长形的、生长在水池边；此外还会用到一种叫水苔（Herba sphagni）的苔藓，作为主体绿化的基础②。
LA：在石原老师出演的电视节目里，我们留意到您用胶带打理苔藓，能不能再跟我们分享一些您的工作细节呢？
Ishihara：我认为日本人的技术是细致的技术，插花也是如此，会修剪每一枚叶子。在会场上每天都会有落叶，竭尽所能细致地打理庭园，无论何时都保证作品处于最佳状态是我希望通过作品表达的，是我的“待客之道”。在切尔西花展的展期中我们也是早晚不间断地扫除，庭园的背面也全部100%打理干净，进到苔藓里的砂粒会用镊子夹出来。我认为一直保持整洁干净是很重要的。
2 2017年切尔西花展获金奖作品—御所之庭Chelsea Flower Show 2017 Gold Award “No wall No war”
从庭院到公共空间
“地图上红色的地方，都是做过的项目。”
LA：除了切尔西花展的参展作品，您还参与其他项目吗？
Ishihara：我还设计了很多海外作品，比如受韩国顺天市市长委托，在该市设计了国营的庭园，希望在釜山通过日本文化、庭园和绿色促进日韩友好。比起庭园的好坏，能和韩国团队合作是非常难忘的经历。还在新加坡滨海湾花园，用一种苔藓植物制作了汽车（图8）。
在日本国内也参与了很多项目，我还担任了全日本9个地方的绿色大使。最南到冲绳，担任冲绳宫古岛的绿色大使，为宫古岛设计了植物园（图9～11）。还有福冈的希尔顿Sea Hawk酒店，Softbank棒球场的庭园。在京都也有很多我的作品，特别是京都鸭川旁边。新开业京都索拉利亚西铁尊贵酒店，以600m2的苔藓幕墙作为吸睛之处，这里也用到了我的新技术。
LA：这些项目里面有您认为最满意的作品吗？
Ishihara：觉得最满意的作品有很多，从最近来讲就是2017年8月7日竣工的（位于日本东京的）涩谷忠犬八公的庭园（图12、13）。在一天有50万人通行，人流量世界第一的十字路口，为八公设计了永久性的和式庭园。
LA：能否向我们介绍您刚刚提到的新技术呢？
Ishihara：对于大量使用苔藓来说，后期维护非常重要。因此为了维护吊车够不到的地方，会像登山一样从上方吊下吊篮，坐在篮子里进行养护。现在还在研究用无人机进行维护的可能性，是否能用无人机洒水、修剪等。
LA：那么新技术和工匠的传统技术、切尔西团队和其他项目团队是一样的吗？
Ishihara：工匠们一共分成5组，冲绳、九州、关西、关东和海外组，海外组是前4组工匠的混合。根据每次的项目内容把适任的工匠组成团队，项目不同人员搭配也不同。这些工匠绝大部分的工作都是跟我合作的，有一位师傅管理所有人。
技术的种类和技艺每年都在逐渐提高，除了给原本的工匠配备员工传授技术，再将新领域的工匠，比如会操作无人机、掌握设置管线和水净化技术的工匠融入进来。在全球水质差的地方有很多，我们对在世界各国都能净化水质的技术很有信心。今后也会将新技术不断融入团队建设中。
LA：您刚刚提到在韩国和新加坡进行海外项目的时候，是否有从海外引入技术呢？
Ishihara：有从海外引入的技术，到了亚热带有亚热带的技术，比如肥料、修剪技术等。在当地的基础上融入日本的技术进行更新，另一方面也会将当地的技术技艺根据日本的情况进行改良升级应用到日本。
设计哲学
“创造笑容是我的作品里的一个重要主题。”
LA：是否存在贯穿所有项目的设计理念，或者想通过设计表达的共通思想？
Ishihara：我很重视“地产地消”，通过使用本土的植物连接庭园和森林。我认为我们需要在大都市里建造能令人怀念的风景，同时注重生态系统建设，不光是人类，鸟类等动物也是地球上重要的伙伴。此外还希望大家看到庭园时能够舒缓心情、产生笑容，同时感受季节。
LA：我们在您的介绍里看到关于长崎的内容，这与您作品的设计思想有什么联系吗？
Ishihara：我是日本长崎原子弹爆炸幸存者的第二代，住在距离爆炸中心约3km的地方。在我小时候，复兴建设还没有完成，但是有梯田等风景。五六岁的时候，到了6月大量的萤火虫飞舞空中，天空都会被照亮。那时的风景对我来说是无价之宝，我想在世界各地创造这样的风景。镇子千人左右规模，大家的关系真的非常和睦，整个镇子就是一个大家庭。我非常喜欢长崎老家的风景，那里虽然不富裕，但是村民互相之间关系很好，永远都是笑容满面的。所以对我来说，美的空间就是能给大家带来笑容的空间，正是因为有了那样美丽的里山③风景，人际关系才能如此和睦。
而且我认为世界各地都有属于当地人民的独特的里山，我想创作出能够唤起人们思乡之情的作品。受到长崎里山影响的不是庭园的造型和空间，而是那里的生活和思想精神（图14）。
因此，我想在世界各地建造像“桃源乡”一样的风景、能成为生态系统一部分的风景，而这些的原点就在长崎。
LA：能否告诉我们一些您作品中表现乡愁的具体手法吗？
Ishihara：我想尽可能使用苔藓，通过苔藓能使新建成的庭园看起来像已建成几十年似的（图15），我想在世界各地尽量运用当地的苔藓来表达乡愁和怀旧。
LA：您在“池坊”学到的空间和技法对您现在的设计产生哪些影响呢？
Ishihara：我认为欧洲的设计是加法的设计，插花是做减法，探讨如何用最少的植物表现空间，利用远近产生明显的进深感，在此次北京世园会也将用到这些手法。而“池坊”是一切的原点，有“池坊”才有我的现在，我在那里学习工作了10年。2017年日本上映了一部叫作《花战》的电影，是关于“池坊”的，看过之后会对它有更深入的了解。
LA：您的作品非常漂亮，植物也一直保持在非常良好的状态。但是凋谢腐烂也是大自然的一环，您对大自然消极的一面又是如何考虑的呢？
Ishihara：一种花凋谢之后还会有另一种花开放，接连不断。除了保证现在好看，我会反复思考庭园的观赏价值，考虑一年365天每天不同的乐趣进行庭园设计。就像樱花，花蕾、盛花期、落樱各有各的美，我会在庭园里表现植物不同时期的风景。
但是腐烂绝对不会展示给观众，在哲学上也有人认为腐烂是好的，但是我不会把植物枯萎腐烂的一面给他们看，因为想给大家带来笑容。
另一方面，种植大量植物之后其中会有长势变弱的植物。因此我认为造园虽然很重要，但维护更加重要。对乡土植物进行精心维护，改良优化成长势强的植物，对于造园来说也是很重要的一点。
LA：在您的作品中表现出日本特征，那么您是如何将东方美学更简单易懂地传达给外国人的呢？
Ishihara：欧洲的庭园会运用大量的花卉，而我则是尽量用少量的花卉表现空间的美。在此次作品中，重点位置会有几棵作为焦点的树，虽然用的乔木不多，却能产生开阔、优美的效果。此外还会将亚洲特有的技术运用到筑石、植物造型修剪等方面。
而对于大众来说，美的作品就是美的，雕刻也好庭园也好，都是一样的。比如江户时期④的浮世绘画家葛氏北斋，看到他的画作不需要任何说明大家就会发出惊赞声（图16）。所以，如果我也尽自己最大的努力设计庭园，一定可以突破东洋和西洋的界限。
关于此次世园会设计
“‘乡愁感’可以促进和睦良好的人际关系，我希望能够通过绿色连接世界各国人民。”
LA：您可否告诉我们在此次世园会中设计的主题和设计理念是什么？
Ishihara：此次的主题是“桃源乡”，遵循中国的古典文学来创作。希望通过此次“桃源乡”的庭园，使游客体会到自然的重要性、自然可以治愈心灵。然后我希望通过这个庭园向各个国家、地区宣传这种放松的、像里山一样的生态庭园。
3 御所之庭—日式亭Azuma-ya in “No wall No war”
LA：既然“桃源乡”的设计主题来自中国的古典文学，能否向我们介绍一下您是如何通过日本造园手法表达中国“桃源乡”这一主题的呢？
Ishihara：我理解中的“桃源乡”是渔夫走入山中，看到美丽的风景但是却永远不能再回到那里。就像我们拥有的自然和美景，如果现在什么都不做就会消失。如何把不可替代的自然留给后世这一课题，不管是在中国还是在日本都是一样的。在日本也有狛犬石像（相当于石狮子）和灯笼，在古代中日就开始进行往来，人们相貌也相似，我觉得中国和日本的文化几乎是一样的，从天空往下看是没有国界的，所以我认为亚洲人的想法基本是一致的。因此把日本的优点带到中国，同时学习中国的长处，创造出能将这些优点融为一体的庭园。
LA：能否介绍一下此次作品突出表现之处或是突出的日本特色？
Ishihara：首先是筑石，将日本江户城等古城砌筑石墙的技术运用到庭园中。建筑物中会用到木匠精细的雕空技术、泥瓦匠的花样水泥技术。树木修剪的工匠可以将普通的树木像盆栽一样修剪，小树也可以创造出有几十年树龄般的效果。我会将日本所有技术都展现在这个庭园里，并教给中国的员工，一起做出比以往更优秀的作品。
LA：此次的作品最能够区别于其他设计师或者国家、地区展园的亮点是那些部分呢？
Ishihara：在我的庭园中花卉运用很少，虽然少但是所有（植物）都看起来像花一样。还有一点是并非秋天才能体会到季节感，我的庭园里会使用非常多的植物，估计能有几百种，下层、中层、上层植物，等等，所以能明显感受季节的变换是我作品的亮点之一。
LA：此次作品跟以往的花展作品或项目相比特别之处有何不同之处？设计过程有没有遇到什么难题？
Ishihara：首先和切尔西花展不同的是面积比较大，预计会来很多的游客，所以园路原本想设计得再窄一些，最终还是需要做宽。不过我希望游人能从多个角度欣赏庭园，从而设计了高低变化。切尔西的作品主要是从外部欣赏，但此次可以行走于作品之中，所以考虑了安全对策问题。还有在庭园中需要行走一段距离，因此针对老年人设计了几处休息场所，可以坐着欣赏的庭园，等等。
LA：您刚刚提到老年人，那么您希望通过此作品向游客带来什么样的游览体验呢？
Ishihara：此次我希望创造的是从儿童到大人包括爷爷奶奶，不同年龄层都能够乐在其中的庭园。因此在儿童和成人的视线高度范围内都进行了创造，比如孩子们看到旋转的水车和瀑布会非常开心。此外也在庭园各处制造变化，创造通过五感体验的庭园。
LA：北京世园会不仅会迎来北京的游人，世界各国游人也会前来参观，不同文化背景的游客是否会产生不同的理解？
Ishihara：我参加切尔西花展时总会被问到作品是不是日本风格，我觉得不是，这是我自己的风格。去英国的时候除了亚洲还有欧洲、美国、澳洲的游客，这么多国家的游客看到我的作品时，最先感受到的是怀念。因此，此次世界各地来的游客也许没看过我的作品，但是看到的瞬间能够感到怀念，就达到我此次的目的了。我认为“怀念”这一词语最重要的是每个人都有自己的故乡，“乡愁感”可以促进和睦良好的人际关系，我希望能够通过绿色连接世界各国人民。
4 御所之庭—夜景灯光效果Night scene lighting up of “No wall No war”
园艺与生活工作
“庭园并不局限于大的空间，小空间里也可以创造庭园。”
LA：您刚刚提到希望游客看到作品之后能感到乡愁和幸福，那么家庭园艺也可以产生这样的感受吗？
Ishihara：我总能回忆起在我小时候父母从事农业的场景，对于现在的孩子们来说，爸爸就算是用很小的花盆种花、或是摆着一排花盆也会成为日后孩子们怀念的风景。因此，我希望我的庭园能成为很多人的绿色契机，看到我的庭园，能让到现在为止对绿色没有兴趣的人也产生兴趣。从一个花盆开始也好，让孩子们看到爸爸妈妈在种盆花，创造日后觉得怀念的回忆。
LA：很多中国人都非常喜欢花卉和园艺，但是空间非常有限，您能否给中国的观众们提供一些家庭园艺的好的建议呢？
Ishihara：其实只种一棵植物也是园艺，可以在小花盆中放些小的动物摆件，创造有趣的微缩场景。庭园并不局限于大的空间，小空间里也可以创造庭园。
LA：您刚才提到时刻保持庭园干净整洁，但是景观多是在室外的，这一点又是如何做到的呢？
Ishihara：室外庭园的维护需要从设计阶段开始考虑，例如商业设施，是否需要多用常绿树，是否开展低维护成本的设计等。通过景观设计手法可以进行控制，在设计的时候就要认真考虑如何保持景观的状态。
最重要的是在设计阶段考虑植物的生长变化，以及在设计的时候为使用者考虑，什么样的空间才是最适合他们使用的。
此次在北京世园会的庭园也需要考虑维护问题，从现在开始就要和主办方讨论，比如将日本的技术教给有关人员，能够自动化维护的部分通过自动化管理。通过互相沟通，将最好的作品并且是可以维护管理的作品呈现给大家。做不到尽善尽美也没关系，双方共同成长共同努力，将成果留给后世。
LA：在园艺方面，中国日本都有很多传统园艺品种，但是在公园或庭园里非常罕见，您的看法是怎样的？
Ishihara：项目负责人会考虑到经费等多种复杂的问题，但是借（北京）世园会这样的机会，可以让更多的人感受到自然之美。不仅是费用问题，作为城市财富的一环，不断增加绿色和优良的植物来提升城市价值，也可以带来经济效益。
展望与寄语
“一条街道一座城市，绿色增加了，活力才能得到提升，才更适宜人们居住。”
LA：您是怎样看待博览会或是花展对于园艺学和造园学的重要性的？
Ishihara：我认为至关重要。因此我想借助北京世园会的机会创造“桃源乡”，创造人们向往居住的环境。比如说今后大多数人都将住在楼房，但是如果楼房的入口处有瀑布、水车，很多鸟类飞来这里的话，居住环境就会得到改善。在此次世园会，我将竭尽所能向世界展示我的造园思想。
此外，通过在花展竞争可以提高彼此的技术，而且会有很多参观者来看展，可以借此传播园艺文化。在短时间内向人们展示美丽的庭园，并且人们从世界各地前来观展，这能够促进园艺文化的发展。
LA：您是如何看待近年来园艺的发展进化的？
Ishihara：我认为日本的园艺在衰退，江户时期是发展的高峰时期。江户时代末期，日本是世界上造园师最多的国家，从那以后开始逐渐衰退，但是从今以后也许会有一些增长。那一时期盛行修剪松树、造园，像迪士尼乐园那样吸引游客。但那之后受战争影响，重要的庭园文化逐渐淡化。在技术方面也许有一些发展，但是从整体市场来看正在后退。如果问一般人是否对园艺有兴趣，大多数人更愿意把钱花在手机或者时尚上，能分给园艺的钱相较其他是很少的。因此我认为我们还需要更加努力地传播园艺文化。
传统的园艺奠定了现代园艺的基础，所以庭园设计师、艺术家们需要加大宣传绿色的重要性，为后代增添城市里的绿色。建造城市都是先从建筑建起，我认为景观是从绿色建起的，庭园中的都市这一思想还没能在日本得到实践，我希望有一天能够做到。
5 切尔西花展施工团队Construction team of Chelsea Flower Show
6 制备景天垫Preparation of Sedum mat
7 现场组装日式亭Assemble Azuma-ya on site
LA：能否跟大家分享您对于日本国内外庭园设计今后发展趋势的看法？
Ishihara：维护非常重要，还有经营模式。就如同建筑的玻璃幕墙需要擦拭等维护工作，庭园的维护也是一样的。一条街道一座城市，绿色增加了，活力才能得到提升，才更适宜人们居住。
但是我认为景观和植栽在世界上的市场还很小，而且大多是建筑师在建设城市。我非常希望能从景观方向开展，形成先有景观再有建筑的建造过程。加之，为了使热爱植物和自然景观的同行们能够更加活跃在世界舞台上，我希望每一次都尽力创作出使人感动的作品。
LA：最后我们想问一下您对本届世园会有怎样的期待？并想请您表达一下对世园会的期望或寄语。
Ishihara：在我心目中现在的自然是不可替代的，人类既可以破坏也可以改善自然。希望能够通过此次世园会，向世界传播自然的重要性、令人感到乡愁的风景、通过庭园恢复生态系统等理念。非常感谢此次邀请我来北京世园会！我一定会全力以赴！
注释：
① 花道是日本传统的插花艺术，有很多流派。池坊是日本最古老的花道流派，来源于礼佛用花。直立式的插花是经典的池坊派形式（张博雅注)。
②水苔是一种干燥的苔藓，保水性强，一般会使用湿的水苔覆在盆栽的土上用于保湿（马嘉注）。
③ 指日本村落周围的山林等自然环境，里山是相对于深山而言，是介于人文与自然之间的景观（张博雅注)。
④ 江户时代（1603—1867年），时间上与中国清朝大致相同，是德川幕府统治日本的年代，是日本封建统治的最后一个时代（张博雅注)。
⑤ 图1～15由石原和幸提供；图16引自www.pcstore.com.tw。
翻译：万静柯
校对：王晞月
（编辑/王一兰）
Mr. Ishihara is one of the top designers in the field of garden design who is now active in Japan and the world. He has continuously participated in the most prestigious exhibition—the British Chelsea Flower Show Since 2004 and until now he totally won 9 Gold Awards, 1 Silver-Gilt Award, 2 Silver Awards, and even he had won 4 times double awards, that is, medals and Best Garden Award for Exhibitions Category, and then he won the President’s Award in 2016. In 2007, Mr. Ishihara was invited to take part in the program of the creative gardens designed by foreign designers in Beijing Expo 2019, and his works will be showed of ficially in 2019.
Mr. Ishihara had learned Japanese school of ikebana “Ikenobō”①in early years, and then turned to garden design. And his is good at using plants in his works and he does well in combining some Japanese elements with his works, including moss,Japanese maple and conifers. In his design, he does what he can do to let gardens make people smile.The correspondent of the Journal made an exclusive interview with Mr. Ishihara, telling us his career history,the philosophy of his design and his vision for this industry in detail.
8 新加坡滨海湾花园的苔藓汽车Moss car in "Gardens by the bay" in Singapore
LA:Landscape ArchitectureJournal
Ishihara: Ishihara Kazuyuki
From Ikebana to Garden Design
"For me, garden design is the same as ikebana."
LA: Now Mr. Ishihara as a garden designer is active in Japan and the stage of the world. According to the statistics, we know that you had learned Japanese school of ikebana “Ikenobō” before you became a garden designer, but why did you change from ikebana to garden design?
Ishihara: Originally I just wanted to go in for jobs related to flowers and plants, and then entered the industry by learning in “Ikenobō”. At one time,when I worked on Fresh Cut Flowers, I was entrusted by a client who adored my garden design with flower arrangement technique. After that, I gradually began to design garden with the creativity and conception from ikebana. In the world of ikebana there are not only the four seasons—spring, summer, autumn, and winter, but the perception of these seasons in 365 days of a year. The idea that to create 365-days view for clients is actually consistent in ikebana and garden design, so they are same to me.
LA: Ikebana is well known around the world,could you please give us a brief introduction of what you would learn in “Ikenobō”?
Ishihara: The first we learn is season. Besides,the simplest ones are used to express the complex sense of space. And I have acquired the ways of creating space and seasons through learning ikebana.
LA: Do you think garden design and ikebana are same in space creation?
Ishihara: Yes. Suppose that in “Ikenobō” we can use three branches to express space, so whether the space is large or small, it is most essential to utilize the sense of far and near view to design branches.Thus, in my opinion, applying “greenness” to create space is suitable for small space, so is large space.
The Oriental Face in Chelsea Flower Show
"At that time I was hard up so that I sold my house, and then I took part in that competition with this money."
LA: Could you please tell us about your experience before you competed in Chelsea Flower Show? For example, have you been engaged in jobs about flowers and plants all the time?
Ishihara: Before I competed in Chelsea Flower Show, I had been engaged in jobs about flowers and plants all the time in Japan. Later on, I was eager to try urban design in large scale and a more international job,at that time Chelsea Flower Show occurred to me. I hoped that I could win the championship, and broaden my horizon in design. In addition, it is not enough that as a professional I was only recognized in Japan rather than the world. Therefore, considering that I wanted to do garden design all over the world, I began to challenge in Chelsea Flower Show and regarded this as the first step for my international job desire (Fig. 1).
LA: When you participated in the Chelsea Flower Show at first, whether your works was soon gained British understanding and recognition?
Ishihara: It is very difficult. Although it is difficult, I think good works don’t need to describe with language. And at first I was on the low level, but I made great progress by carrying on participating in the show. And I feel that whether Britain, Japan or China, as long as one sees good works, he/she can’t help say “Wow”, that is, language will be replaced by onomatopoetic words. Therefore, my aim is to design garden without explaining but shocking audience.
LA: Until now, are there some works satisfying you in your works used to compete in the Chelsea Flower Show?
Ishihara: I take part in the show every year,and every time I hope I can create the best work.So at present, in my mind the work “No wall, no war” is the most complete one (Fig. 2-4). “Garden”is the derivation of “guard” which derives from words on war. The wall of “defense station” is very low without the idea of attacking or defensing others. So I think low and open wall is the symbol of peace. In 2016 the design concept of the garden came out, and in 2018 I must try my best to show my works which exceed those in 2017 to the world.
LA: By the time of your winning awards or your creating the most complete works, you have experienced a lot and acquired much experience.So in the process you must suffer a lot, and how did you overcome these difficulties?
Ishihara: In the Chelsea Flower Show, contestants are required to create quality works in limited time,and even the garden I design this year (2017) can’t be recognized as perfectness. There will be some merits in creating quality garden in short time, but there will be some demerits. I will rectify demerits next year and apply my experience to other world works. Therefore,for me, the Chelsea Flower Show is not only a stage where I can challenge with others, but also the place where I can enhance my ability of designing garden.
LA: As far as we know, preparing for the show needs much energy, manual labor and money, and how long is the preparation time?How do you operate money and manage employees?
Ishihara: I take part in the Chelsea Flower Show every year, for example, in 2017, at the time that when we prepare for this year’s work I begin to consider next year’s, and design by self-adjustment in one year. Therefore, although we create our works within one week to ten days in the show, in fact we consider design with one year.
Besides, from the aspect of money, we try my best to spend much time designing garden around the world within a year, and some of our incomes is used to take part in the Chelsea Flower Show.In terms of personnel, a team usually contains about 40 persons, among which about 20 persons are permanent staff, including carpenter, chunam tiler, electrician, other craftsmen and support staff;moreover, every year 20 new craftsmen or students who are majoring in landscape are taken to the challengeable stage in order to let them know and experience the British Chelsea Flower Show. Among which 99% of them are taken from Japan to Britain,and our company is responsible for our team’s traf fic expenditures, hotel expense, material cost for taking part in the show.
Thus it can be seen that it is hard to participate in the show every year, because money, personnel and design are operated at the same time. By 2017,we have participated in the show 12 times in total.My abilities have been enhanced in all aspects by taking part in the show.
LA: Could you please give us a specific introduction of craftsmen in your team, such as these craftsmen you just mentioned?Are they all the craftsmen using traditional Japanese construction technology?
Ishihara: Among them, the first craftsmen we need are carpenter who can construct buildings and foundation, the second are chunam tilers who can process and plaster the materials like stones,and be good at deal with cement, the third are nurseryman who can prune and plant trees, and the last are electrician who can do execution of works in electronic and water scene.
9 宫古岛植物园（春夏季效果）Miyako Botanic Garden (spring and summer)
LA: According to your works in flower show, we know you use some elements of traditional Japanese garden design, where are these materials like stones and plants from?
Ishihara: Buildings are often assembled one time in advance in Japan, and adjusted many times.After being completed in Japan, they will be airlifted to Britain for assembling (Fig. 5-7). Plants, soil,stones and something like these all are introduced from British or other European countries, and after being adjusted in Britain, we will use them.
10 宫古岛植物园（冬季效果）Miyako Botanic Garden (winter)
LA: Could you please tell us the reason why you use plenty of moss? Are they used in flower arrangements? And are they from local places of Britain?
Ishihara: There are varieties of mosses in the world, from high mountains to low land, wherever moss can be found, but moss requires certain humidity. Now it’s getting drier and drier gradually in the world, they can’t help but feel soft and relaxed at the sight of moss.Therefore I think we should use moss wherever possible,and use beautiful moss to make everyone pleasant.But we don’t use moss to do flower arrangements in“Ikenob ō”, and now I regard it as my style and always use moss in flower arrangements.
There are two kinds of mosses used mostly in my works, that is, one is Norwegian moss, namedLeucobryum juniperoideum; there is alsoHypnum plumaeformewhich is slender and grows at edge of pool; and when replacing planting with metope greening as the base, this kind of moss,Herba sphagniwill be used②.
LA: In the TV program Mr. Ishihara starred, we noticed that you took care of the moss with tape, so could you please share some details of your work?
Ishihara: I think the Japanese technology is meticulous, so is the flower arrangement, and we will trim each leaf. There will be deciduous leaves every day at the flower show venue, and I will try my best to take care of the garden whenever I want to ensure that my works are in optimum condition,and I hope to express this feature through my work. There will be new trashes at any time, so my “hospitality” is to clean frequently and keep tidy, which is the same as flower arrangements.During the period of the Chelsea flower show, we also constantly clean it from morning to evening,the back of the garden also need be completely cleaned, and even the sand into the moss will be clipped out with tweezers. In my mind, it is necessary to remain clean and tidy.
From Garden to Public Space
"The red parts on the map are places where all the projects I've worked on."
LA: Have you been involved in other projects in addition to the exhibition works at Chelsea Flower Show?
Ishihara: I have also designed many works,for example, commissioned by the mayor of the city Suncheon of South Korea, I designed the state-owned garden trying to promote the friendship between Japan and South Korea through Japanese culture, gardening and “greenness”.Whether garden designed is good or bad, it is an unforgettable experience to cooperate with the team of South Korea. I also designed a car made of the plant “moss” at Gardens by the Bay in Singapore (Fig. 8). I’m very satis fied with it for that I think others’ appreciation embodies the value of a garden.
Moreover, I have participated in many projects and worked as the “greenness ambassador” in nine places across the whole Japan. The southernmost is Okinawa, I acted as the green ambassador of Miyakojima, Okinawa, and designed botanical garden for it (Fig. 9-11). My other works include gardens designed for Hilton Sea Hawk Hotel in Fukuoka and Softbank’s baseball field. Besides,many of my works can also be found in Kyoto,especially around Kamogawa. In the newly-opened Solaria Nishitetsu Hotel Kyoto Premier, I took the 600m2moss curtain wall as the attractiveness which adopted my new techniques.
LA: Is there the most satisfactory work in your projects?
Ishihara: There are many satisfactory works I think and in recent days it should be the garden of Japanese Akita in Shibuya completed on August 7, 2017 (Fig. 12, 13). We designed a permanent Harmony Garden for it at a crossroad with the pedestrian volume ranking first in the world, about 50 thousand per day.
LA: Could you introduce us the new techniques you just mentioned?
Ishihara: For the extensive use of moss, the post-maintenance is very important. We will hang a basket from the top and the workers can stay in the basket to take care of the moss like climbing mountains so as to maintain the places out of the reach of the crane. And we are now studying the possibility of using air machines for maintenance and sprinkling water or trimming plants with it.
LA: Well, are the new techniques and the traditional methods same?And are the team working for the Chelsea Flower Show and other projects teams same?
Ishihara: The craftsmen are classi fied into five groups: the Okinawa, the Kyushu, the Kansai, the Kanto and the Overseas, and the last group are the mixture of the craftsmen in the former four groups. We will choose different craftsmen and form teams according to the project contents. They mostly work with me and a craftsman acts as a top manager to regulate all the people.
Technologies are increasing every year, so we provide the original craftsmen with staff to teach techniques and recruit the craftsmen in new fields who can manipulate the air machines and master the techniques of tubing and water puri fication. In particular, there are many places with poor water quality around the world, but we are con fident in the techniques of water puri fication of all the countries. And we will continue to integrate new techniques into team building in the future.
LA: Were there any techniques inducting from abroad when carrying out foreign projects in the South Korea and Singapore you just mentioned?
Ishihara: We have inducted techniques from abroad and applied the techniques of the subtropical areas when in that places such as fertilizers and pruning skills. On the one hand, we integrated the Japanese techniques and updated on the basis of the local techniques, on the other hand, we also improved the local techniques according to the Japanese practical situation and then applied it.
11 宫古岛植物园Miyako Botanic Garden
Philosophy in Design
"Creating smile is an important subject in my works."
LA: Are there any design concepts throughout all the projects or common ideas expressed through designing?
Ishihara: I attach great importance to “local production for local consumption” through using local plants to connect garden and forest. I think we need to create nostalgic scenery and meanwhile we should pay attention to ecosystem construction, not only humans but also birds and other animals are important partners on the earth. In addition, I also hope that people can feel pleasant, smile at it and perceive the seasons when visiting gardens.
LA: We read the Nagasaki in your introduction, and does it have any relation with your design concept s in your works?
Ishihara: I am the second generation of the survivors of Nagasaki atomic events of Japan, living about 3km from the blast center. The rehabilitation construction was not completed when I was young, but there were other sceneries such as the terraced fields. At the age of 5 and 6, the sky was lighted up by a large number of flying glowworms at night when June came. The scenery at that time was invaluable to me and I want to create such scenery around the world. In addition, a town of about 1,000 people lived in the scenery and the relationship among them was harmonious. The whole town looked like a big family. I really like the scenery in my hometown Nagasaki where although it wasn’t af fluent, the villagers were friendly with each other and they always smiled. So the beautiful space, for me, can make people smile, and it is exactly because of the beautiful Satoyama③scenery that their interpersonal relations are harmonious.
And I think the Satoyama scenery can be found around the world, so I want to create the works that can stimulate people’s homesickness. What the Satoyaman in Nagasaki affect is the lifestyle and spirit instead of the shape and space (Fig. 14).
Therefore, I want to create the scenery like “A Paradise on Earth” which can become a part of ecosystem, and the origin of these can be found in Nagasaki.
LA: Could you tell us the specific methods you used in your works to express nostalgia?
Ishihara: I want to use moss as much as possible, because new garden looks like it has been built for decades through the moss (Fig. 15). I want to use the local moss to express the feeling of nostalgia and reminiscence around the world.
LA: What effects of the space and techniques you learned in “Ikenobō”on your current design?
Ishihara: I think the designing of Europe is addition and ikebana is subtraction which explores how to express space through the least plants.Thus using the method of perspective that the front with high trees and the rear with shorter trees can generate significant sense of depth, and we will use this method in the Beijing Horticultural Expo. “Ikenobō” is the origin of everything and my current achievements also come from it. The movieHana ikusashown in 2017 in Japan is about “Ikenobō”, you will have a more in-depth understanding after watching it.
LA: Your work is very beautiful and the plants are always in a good condition. But withering and decay are also parts of nature,what do you consider of the negative sides of nature?
Ishihara: Another kind of flower blooms after one kind of flower fades, one by one. Not only the current beauty, I will repeatedly think of the view of gardens and design according to the pleasure every day in the whole year. Just like that sakura’s flower bud, blossom and falling petals are different but each beautiful in its own right, I will show the plants’beauty of different periods in the garden.
12 涩谷忠犬八公的庭园（春季效果）Hachiko garden in Shibuya (spring)
13 涩谷忠犬八公的庭园（冬季效果）Hachiko garden in Shibuya (winter)
But the decay will not be shown to visitors.In philosophy, some people think the decay is good but I will not show the withering and decay of plants to most visitors, because I hope people can smile.
On the other hand, there will be the plants that grow weakly after planting a large number of plants. So I think although creating gardens is important, the maintenance is more important than that. Therefore, it is of great significance to maintain the local plants carefully as well as to improve and to modify the plants growing weakly.
LA: Japan’s characteristics are presented in your works, so how do you convey the oriental aesthetics to foreigners in an easy and accessible way?
Ishihara: The European gardens tend to use a lot of flowers but I try to use a small amount of flowers to express the beauty of space. In this work,there will be several trees as focal points in key positions. Although we use few trees, they can have open and graceful effects. In addition, we will apply the special techniques of Asia to stone building,cutting and settling and other aspects.
For the public, beautiful works can bring the sense of beauty, and the sculpture and garden are same. Such as the Japanese painter of Ukiyoe Palaemon Hokusai in the Edo period④, people are amazed when seeing his paintings without any explanations (Fig.16). So I will try my best to design gardens and break through the limits between the east and the west.
The Design of the International Horticultural Exhibition 2019, Beijing
"'Nostalgia' can promote a harmonious and positive interpersonal relationship. I hope that people from all countries can be connected by'greenness'."
LA: Could you tell us the theme and idea of the design to this Expo?
Ishihara: The theme of this Expo is “The Paradise on Earth” Togenkyo, which follows the Chinese fairy tale. I hope that, through visiting this garden themed “The Paradise on Earth”,the visitors can be aware that the nature is very important and it can heal the heart. Moreover, I also hope, with help of this garden, a relaxing and ecological garden which gives you a same feeling of being in the mountains would be advertised to all countries and regions.
14 里山风景Satoyama landscape
LA: The theme of “The Paradise on Earth” is originated from the classical Chinese literature, could you tell us how did you express the theme in Japanese ways of garden design?
Ishihara: I understand that “The Paradise on Earth” refers to beautiful scenery that the fisherman saw but can never come back. Even the nature and beautiful scenery we have now would be disappeared from the earth, if we do nothing to protect them.How to preserve the indispensable nature for the future generations is the same issue for both China and Japan. Japan also has koma-inu (stone lions in China) and lantern. And people from China and Japan have contacted with each other since ancient times. Moreover, they look just the same. So I think the culture of these two countries is almost the same. And if you look down at the two countries from Heaven, there is no boundary between them.Therefore, I think what the Asians think is almost same. So I bring the advantages of Japan to China and learn the advantages of Chi na at the same time to create a garden with the advantages of both.
LA: Could you introduce the highlight of this work or the prominent features of Japan?
Ishihara: The first one is the building stone.The technique of building masonry walls of such ancient Japanese cities as Edo Castle is applied to the building of the garden. Besides, we also employ the exquisite technique of carpenter’s carving and hollowing as well as the abundant cement technology of masons. Also, the craftsman who prunes trees can prune the ordinary trees as bonsai, in which way the little trees can be looked like trees with decades of years’ tree-age. I will use all these techniques from Japan in this garden and teach the Chinese staff how to make a better work than ever before.
LA: What are the highlights that can distinguish this garden from other designers’work in other regions and countries?
Ishihara: Flowers are used sparingly in my garden, but all look like flowers. In addition, the feeling of season can be sensed not only in the season of autumn, because many plants are used in my garden with more than hundreds of different kinds, such as the lower, the upper and middle plants. Therefore, having a strong sense of the changing of season is one of my work’s highlight.
LA: What’s the difference between this work and previous ones in other flower shows? Is there any problem in the process of designing?
Ishihara: Firstly, what is different from the Chelsea Flower Show is that the area is larger on the account of many visitors being expected, so the garden path which is designed to be narrow is built to be wider at last. But I hope the visitors can enjoy this garden from many angles, so different heights are shown in the design. The work of the Chelsea Flower Show is mainly appreciated from the outside, but visitors can walk in this garden to appreciate. Thus, we considered safety problems and countermeasures. Moreover, visitors need to walk some distance in the garden, so we designed some rest areas for the elderly where they can have a sit while visiting.
LA: You just mentioned the elderly visitors,so what visiting experience you want to give visitors through this visiting?
Ishihara: This time I want to create a garden that can be enjoyed by different age groups, from children to the grown-ups and the elderly. Therefore, we make some creations from the range of different eye levels of children and the grown-ups. For example, children would be very happy to see the turning waterwheel and waterfall. Besides, we also create many changes around this garden to build a garden that can be experienced from five senses.
LA: The Beijing Expo 2019 will not only attract visitors from Beijing but also visitors from all over the world, so do visitors with different cultural background have different understanding towards it?
Ishihara: When I was at the Chelsea Flower Show, I was frequently asked whether the work is Japanese style. I don’t think so. It’s my own style. When the show was in the UK, many visitors from Asia, Europe, America, and Australia came to enjoy the show. What firstly came to their feelings was missing.Therefore, visitors from all over the world who may not see my works before can sense the feeling of missing when they come to the Beijing Expo 2019,and then I will achieve my goal. I think, for everyone, the important part of“missing” is that everyone has their own hometown. “Nostalgia” can promote a harmonious and positive interpersonal relationship. I hope people from all over the world can be connected by “greenness”.
15苔藓庭石Mossy garden stone
Gardening and Living
"Gardening is not limited in large space. And garden can also be built in small space."
LA: You just mentioned that you hope visitors can feel nostalgia and happiness from this garden. I want to ask you whether the household gardening can make them feel like that or not.
Ishihara: I can always remember the scene where my parents were engaged in farming when I was a kid. For kids nowadays, dads using very small flowerpots to grow flowers or just displaying a row of flowerpots can be a scene for kids to cherish in the future. So I hope my garden can be an opportunity of “greenness” for many people. After seeing my garden, they can be interested in “greenness” even though they have no interests at all at the beginning. Starting from a flowerpot, parents should let their kids see they are growing flowers, which can be a memory cherished by their kids for a long time.
LA: Many people in China are very fond of flowers and gardening, but the space is very limited. Could you give some suggestions of household gardening for Chinese audience?
Ishihara: In fact, growing only one plant is also called gardening. You can put some little animal decorations in the flowerpot to create an interesting miniature scene. Gardens, not limited in large space, can be created in small space.
LA: You just mentioned that the garden keeps clean all the time, but many landscapes are outside, how do you make that come true?
Ishihara: As to the maintaining of the outside garden, we should consider it from the beginning of the design. We should take account of many problems, such as whether to grow more evergreen trees, and whether to make a design without maintenance. It can be controlled through the techniques of landscape design, so when designing, we should carefully consider how to maintain the state of the landscape.
What is the most important is that we should consider the changes of the plant development. When designing, we should consider for the user and make clear of what kind of space is most suitable for them.
Also, the maintenance of the garden in the Beijing Expo 2019 should also be considered. We should start to have discussions with the organizers from now on to discuss such problems as giving the Japanese techniques to the concerned personnel and automatically managing the automated part of maintenance.By communicating with each other, we hope the best work that is able to be maintained and managed can be presented to everyone. It does not matter if we can’t make the complete perfection. Both parties work together and grow together to leave the fruits to the future generations.
LA: From the aspect of gardening, both China and Japan have many traditional horticultural varieties, but these varieties can rarely be seen in parks or gardens. What’s your opinion?
Ishihara: Project manager would think of many complicated problems,such as expenditure. But through the opportunity of this expo, many people can appreciate the beauty of the nature. It’s not only about expenditure. As a part of city property, “greenness” and good plants can increase the value of the city and bring economic effects to the city.
Expectations and Wishes
"Whether a street or a city, only greenness is added, can vitality be promoted, and can people live more comfortable."
LA: What do you think about the importance of exposition or flower show to horticulture and gardening?
Ishihara: I think it is very important. Therefore, I would like to create the“The Paradise on Earth” and an environment where people yearn for living in with the help of the opportunity of the Beijing Expo 2019. For example,most people will live in buildings in the future, but if there are waterfalls, waterwheel and many birds flying here at the entrance of the building, the living environment will be improved. At this expo,I will try my best to show my gardening ideas to the world.
In addition, each other’s techniques can be improved by competing in the flower show, and there will be many visitors to see the expo, so the horticultural culture can be spread. What’s more,many beautiful gardens will be showed to people at the expo in a short time and people coming from all over the world will see it, which can promote the development of horticultural culture.
LA: What do you think of the evolution of horticulture in recent years?
Ishihara: I think Japanese gardening is declining, and its peak is in Edo age of Japan. In the late Edo age of Japan, the number of Japanese garden designers was the largest all over the world;however, from then on it began to decline, but there may henceforward be some growth. In Edo age of Japan there were so many garden designers that pruning pine and designing garden were prevailing and attracted tourists like Disneyland.But after that major gardening culture was weak.There may be some development in technology, but it backs off in the whole market. If asking whether ordinary people are interested in gardening, maybe most of them prefer spending their money in mobile phones or fashion things, while compared with these, their spending in gardening is less.Therefore, I think we still need make more efforts to spread gardening culture.
16 葛氏北斋代表作《神奈川冲浪里》Katsushika Hokusai’s The Great Wave of Kanagawa
Traditional gardening lays the foundation for modern gardening, so we garden designers and artists should strengthen the publicity of the importance of greenness, and add it to cities for next generations. As construction of cities begins from buildings, I think the construction of landscape starts from greenness. Although the concept of designing gardens in cities isn’t put into practice in Japan, I wish it will come true one day.
LA: Would you like to share us your views of the development trend of garden design in Japan and abroad in the future?
Ishihara: Maintenance is very important,so is the management model. Just like the glass wall of buildings need to be cleaned and other maintenance, so does garden. Whether a street or a city, only greenness is added, can vitality be promoted, and can people live more comfortable.
But in my view, the market of landscape and planting in the world is still small, and mostly architects construct cities. I am eager to carry out a program from the aspect of landscape and form the construction process of landscape first and buildings second. What’s more, I wish I can try my best to create impressive work every time for the fact that my colleagues who have the passion in plant and natural landscape can be more active in the world stage.
LA: What do you expect of the expo? And would you please express your expectations and wishes of the expo?
Ishihara: In my mind, the nature at present is irreplaceable, and it can be destroyed and created. And by this expo I hope to spread the importance of nature,the nostalgia scenery, and some concepts like restoring ecosystem with garden. Thanks a lot for inviting me to come to the expo! I will do everything I can!
Notes:
①Ikebana is a kind of traditional Japanese flower arrangement art including various schools. “Ikenobō” is the oldest school of Ikebana, and it originated from the flower for praying Buddha. And the vertical flower arrangement is the classical form of “Ikenobō” (Noted by ZHANG Boya).
②Herba sphagni is a dry type of moss, which have strong water retention, usually used with wet moss covered in potted soil for moisturizing (Noted by MA Jia).
③It refers to the natural environment of mountains and forest around Japanese villages. Compared with remote mountains, the mountain which is inside the remote mountain is the landscape between humanity and nature(Noted by ZHANG Boya).
④ The Edo age of Japan (1602—1867) which is mostly same with Chinese Qing dynasty in terms of time is the age that Japan was under the rule of Tokugawa Bakufu, and it is the last age of Japanese feudal regime (Noted by ZHANG Boya).
⑤Fig. 1-15 are provided by Ishihara Kazuyuki; Fig. 16 is quoted fromwww.pcstore.com.tw.
