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1993年,我在《花木盆景》第6期发表过一篇不够成熟的拙文。这篇短文一是肯定盆景(主要指树桩盆景)中的残缺美现象及其表现形式;二是浅析了残缺美与中华民族精神品质及审美意识的关系,即形成历史原因。同期刊发的另外两个作者的两篇文章中也谈到了残缺美,可见,残缺美在盆景中的地位和作用是同行们持有共识的。这两年,在不断地积累理论修养和实践中,由于眼界和思路的逐步拓宽,笔者对盆景残缺美有了一些进一步的认识,集中起来有两个方面的意见与大家商讨。一、残缺美具有共性在1993年的那篇文章中,我曾谈到过中国盆景有突出的残缺美现象,但忽略了它所具有的共性特征。那时,
In 1993, I published an unfamiliar essay in the sixth issue of Bonsai. This essay first affirms the incomplete beauty and its manifestations in the bonsai (mainly referring to the stump bonsai); secondly, it analyzes the relationship between the incomplete beauty and the spiritual qualities and aesthetic awareness of the Chinese nation, that is, historical reasons. Two articles by two other authors published in the same period also talked about the flawed beauty. It can be seen that the status and role of the flawed beauty in the bonsai hold consensus among colleagues. In the past two years, with continuous accumulation of theoretical cultivation and practice, due to the gradual broadening of field of vision and train of thought, the author has made some further understanding of the incomplete beauty of the bonsai. There are two opinions gathered to discuss with you. First, the incompleteness of the United States has something in common In the article in 1993, I had talked about the prominent phenomenon of incomplete beauty in Chinese bonsai, but ignored the common features it possessed. At that time,