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黄明山的《出》,以其潇洒的身姿、张扬的个性和独特的风韵亮相后,盆景界各种各样的品评和争论不断出现。不少人评价甚高,颇多赞美之词;亦有提出质疑的。陈洪奎在《艺术美应植根于自然美》(见《中国花卉盆景》2004年12期)中直截了当地指出,“那个直线样的细长枝条在自然界中是不可能水平伸展的”,“它是以‘直立生长优势’原理生长而成,根本不能横生横长。作者把本来活生生的自然现象,在盆中强行‘艺术化’改造,违背了盆景创作‘师法自然’的原则”。不久,黄光伟对陈的观点提出不同意见(《中国花卉盆景》2005年第6期)。我认为,陈先生所阐述的一些观点还是值得商榷的。上个世纪30年代,我国著名美学家朱光潜先生曾写过一篇文章,题目叫《我们对于一棵古松的三种态度——实用的、科学的、审
Huang Mingshan’s “out”, with its chic style, publicity personality and unique appearance of charm, the bonsai sector a wide range of reviews and controversy continue to appear. Many people commented very high, a lot of praise; also questioned. Chen Hongkui straightforwardly pointed out in “Art Beauty Should Be Rooted in Natural Beauty” (see “Chinese Flower and Bonsai” 2004-12) that “it is impossible for the straight, slender branches to extend horizontally in nature” and “it is The principle of ”erect growth advantage“ grew out, can not be absent-minded. The author of the original living natural phenomenon, in the basin forcibly ’art’ transformation, contrary to the bonsai’s ’teacher-law nature’ principle. Soon, Huang Guangwei Chen’s point of view put forward different opinions (”Chinese flower bonsai“ 2005 the sixth period). In my opinion, some of the points made by Mr. Chen are still debatable. In the 1930s, Zhu Guangqian, a famous aestheist in our country, once wrote an article titled ”Our Three Attitudes towards a Kusong - Practical, Scientific,