去年10月初在《花木盆景》第九期中读罢曾宪烨先生的《三干飘枝半悬岩的造型探索》,并对3幅附图,特别是造型设计二式,用放大镜作过多次仔细观察后,即在我的学习笔记本上,记下这样一段感想:“三干飘枝半悬岩式盆景艺求造型,构思新颖,形象别致,很值得推广。遗憾的是,焉能以图代物?三干连根茎干奇危可用作盆景造型的活素材,在自然中这种巧缘,是不会再生的。可惜所见的是画,不是真正的三干飘枝半悬崖式盆景。”近日又在《中国花卉盆景》第六期中拜读了彭友洲先生与曾宪烨先生商榷文章后,更是感触万千,艺术本身就是多变的,更何况盆景又是一种鲜活的生命艺术, At the beginning of October last year, in the ninth issue of “Bonsai of flowers and trees”, Mr. Zeng Xiangye’s “Exploration of Modeling the Semi-Hanging Rocks of the Three Dry Branches” was read and three drawings, especially the design of two models, were carefully read through a magnifying glass Observation, that is, in my study notebook, write down such a feeling: “Three dry branches semi-rock bonsai art style, innovative ideas, unique image, it is worth promoting. Regrettably, how can figurines Three stems with rhizome dry Qi dangerous can be used as living material bonsai modeling, in nature this clever edge, will not be regenerated, but what I saw is painting, not a real three dry branches semi-cliff bonsai. ”Recently, after reading the articles of Peng Youzhou and Mr. Zeng Xiangye in the sixth issue of“ Chinese Flower Bonsai ”, it is even more touching. The art itself is ever-changing. Not to mention the bonsai is a vivid art of life,