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飘枝是桩景诸枝中的姣姣者,它在桩景布局中占有十分重要的位置,体现出为桩景造动势、添活力、增神韵的功能。凡桩景制作者无不在飘枝处理上倾注情感,施展技艺,以期获得成功之作。笔者结合自己的创作实践,就桩景飘枝谈几点认识,十分肤浅,借以抛砖引玉。 1.飘枝的产生飘枝是一种夸张的艺术手法。如同古诗词里“飞流直下三千尺”、“白发三千丈”、“燕山雪花大如席”等夸张诗句一样。桩景的飘枝也是一种夸张的艺术手法。当然不是毫无依据的夸张,而是制作者吸收了大自然中诸多树木某些外伸枝姿态后的再造姿态,是由形象——抽象——形象的演变过程。这种演变过的夸张姿态即飘枝,它把自然美和艺术美有机结合起来,使其更气派,更浪漫,更具艺术魅力。在实际创作中往往会产生一飘枝救“活”一桩景的特殊效果。
Gone with the Wind is a beautiful person in the piles of branches. It occupies a very important position in the layout of the piles and reflects the function of building up momentum, adding vitality and adding charm to the piles. Where the pile maker are all devoted to the treatment of the branch devoted emotion, display skills, in order to achieve success. The author combines his own creative practice, on the pile Jingwan talk about a few points, very superficial, in order to initiate. 1. Floating branches produce floating branches is an exaggerated art practices. As in the ancient poetry “flying down three thousand feet”, “white hair three thousand Zhang”, “Yanshan snowflakes” such as exaggerated verses. Stump floating branches is also an exaggerated art practices. Of course, it is not without any basis of exaggeration. Instead, the artist rebuilds attitude after absorbing some of the branches of nature in many branches. This is the evolution of image-abstract-image. This evolutionary exaggerated gesture is Gone with the Wind. It combines natural beauty with artistic beauty to make it more stylish, romantic and artistic. In the actual creation often produces a special effect to save the “living” a scene.