对根艺的审美众说纷纭,仁者见仁,智者见智。我个人认为对根艺的欣赏和创作不能走极端,也不必为根艺作品的雕与不雕、雕多雕少而舌战不休,根艺的创作重要的是因材施艺、随形赋意,挖掘根潜在的自然美,否则谈何“根味”。有些根料并没什么味,经过人工的雕琢,就变得更有趣味。作者应该多考虑如何使作品的构思更完美(当然残缺有时更显得美),如何更巧妙地利用或保留自然(色、形、质、味、韵)以达到“天人契合”。一件作品在一定程度上反映出作者的用心和根外的功夫。由于没有绝对一样的根料就不可能有绝对的创作手法(刀法),强调“三七开”的戒律和指导思想,显然是不利于根艺发展的。根艺的本身就是一门综合的艺术,既溶进了诗歌、雕塑、绘画、神话传说等其 There are different opinions on the aesthetic arts of the root art, benevolents see the benevolence, wise men see the wisdom. I personally think that appreciation and creation of Genyi can not be extreme, nor do we need to carve or not sculptures of Genyi works. , Digging potential natural beauty root, or talk about what “root ”. Some root materials and no taste, after artificial carving, it becomes more interesting. The author should give more consideration to how to make the idea of ​​the work more perfect (of course, incomplete and sometimes even more beautiful) and how to use or retain the nature (color, shape, quality, taste and rhyme) more skillfully to achieve “harmony between man and nature.” To a certain extent, a piece of work reflects the author’s intentions and efforts outside the root. Because there is no absolute same root material can not have the absolute creation method (sword method), emphasizing the “March 7 open” commandments and guiding ideology, is obviously not conducive to the development of root art. Root art itself is a comprehensive art, both dissolved in poetry, sculpture, painting, myths and legends and so on