盆景欣赏,除了在实地能欣赏到原作的风貌、神韵外,更多的都是通过作品的彩照进行间接欣赏。这就涉及到作品是否上镜,和摄影的艺术效果。很多盆景作者都有一共同的感觉:一些作品在观赏原样时非常满意,但是,一被相机框定,拍摄出来就神韵大失,这除了摄影方面的原因外,更重要的一点就是作品的定位造型。人们在欣赏原作时,视线是随时变换的,一些枝托的精华曲线美随着视点的不同可以完全显露,不象照片一样,只有一个固定的欣赏位置,也就是说,一件作品只能有一个最佳的欣赏角度。那些拍摄出来神韵有失,甚至局部杂乱无章的作品,究其原因:一、前后枝互相重叠。原本是立体空间中的枝在变为平面空间后互相重叠干扰,使前后枝不能充分显露出来。二、干、枝本身的曲线美得不到充分展现。这就涉及到绘画透视中的投影问题。比如一正立投影是曲的线,其侧 Bonsai appreciation, in addition to the field can enjoy the style of the original, charm, but more are indirectly through the color photos of the work. This involves the work is on the mirror, and the artistic effect of photography. Many bonsai writers share a common feeling: some works are very satisfied with their viewing of the original samples. However, once the camera is framed and shot, the author is greatly disappointed. Apart from the reasons for photography, the more important point is that the works are positioned and shaped. People appreciate the original, the line of sight is changing at any time, some branches of the essence of the curve with the different point of view can be completely exposed, unlike the photos, there is only one fixed appreciation position, that is, a work can only have A best angle to enjoy. Those filming lost charm, and even local chaotic works, the reason: First, before and after the branches overlap. The original three-dimensional space in the branches into a plane space after overlapping interference, so before and after the branches can not be fully revealed. Second, dry, the beauty of the curve itself can not be fully demonstrated. This involves the problem of projection in the perspective of painting. For example, an orthographic projection is a curved line, its side