The reason why wabi-sabi aesthetics resonate is mainly because there are many impermanence and helplessness in life, wabi-sabi looks comfortable and natural, it is an aesthetic attitude towards the passing life, and it has the effect of “healing” the soul. A kind of beauty that can only be appreciated and pursued after seeing the prosperity.
As a minimalist form of artistic expression, illustration just fits the core of wabi-sabi aesthetics.
Leonard Koren’s book “Wabi-Sabi” sums up its essential spirit in one sentence: cut back to the essence, but don’t strip it of rhythm, keep it clean and pure but don’t take away its vitality.
Wabi-sabi aesthetics can exist more widely in gardens. Whether it is a corner of a scene or the overall construction of a space, as long as the moment it enters the eye, it makes people feel peaceful and peaceful without losing firmness, and it can be said that there is a wabi-sabi spirit.
These series of flower arrangements always have a quiet power that we can feel from the bottom of our hearts.
The colors are simple and the materials are unique. The blank space always gives people enough room for imagination.
The art of golden rose flower arrangement. Ikebana first originated from the Buddhist temples of the Sui Dynasty in China, and after it was spread to Japan, various schools have emerged, and it has become an important part of the cultivation of body and mind. In China, ikebana can also be called the art of flower arrangement; ikebana (art) or flower art refers to the method and technique of appropriately cutting the branches, leaves and flowers of trees, flowers and plants and inserting them into vases and other flower vessels artistically. Feel the changes of nature and life through flower arrangement, and improve one’s own aesthetics while creating beautiful works and appreciation. This kind of learning lifestyle with flower arrangement as a means and the purpose of improving spiritual world cultivation is called ikebana;
Artist Profile: Takayuki Matsumine. Born in Iwate Prefecture in 1985.
At the age of 16, Songfeng seriously injured his cervical vertebra during the skiing he was engaged in at the time, resulting in paralysis from the shoulders down, and was forced to face the thoughts of life every day. In the process of finding a new self in frustration, he said, “the society sometimes blows me hard, and sometimes it saves me very warmly.” These two strong winds have cultivated his strong sensibility. Since beginning his career as an artist, Matsumine has been creating three-dimensional and media artworks on themes of space, people and nature. His work is “co-created” through the collaboration of art assistants who share Songfeng’s approach to connecting self-expression, tragedy and pain with “beauty”. All beings suffer, big or small. The artist tries to share with the audience that it is by confronting these events that we learn to appreciate them and perceive their beauty.