中国盆景艺术在发展中能否正确地继承民族优良传统,是关系到能否保持中国民族风格的大问题。所以,我们必须努力找出并肯定历史上盆景的优良部分,结合当前的实际情况把它继承下来。为此,我想谈谈对几项传统的看法。一、中国盆景是文人盆景中国盆景的起源与发展,与中国园林、中国绘画和文学紧密相关,在一个漫长的历史过程中,盆景虽是劳动者所创造,却一直被上层贵族和文化人所参与所占有,无不注入了他们的情趣和审美观,有其历史局限性,也有较高的文化内涵,在方法上崇尚自然,反对匠气,在意境上与诗画融通,使盆景带着浓郁的翰墨味加入了高等艺术的行列。所谓文人盆景,并非说只有文人才能制作盆景,不是文人就不能染指,而是说中国盆景除了造型形式以外,还要有文化内涵,带有翰墨味。已故盆景艺术大师周瘦鹃先生在《盆栽趣味》一书中写道:“凡是制作盆景的高手,必须胸有丘壑,腹有诗书,才能产生一盆富有诗情画意的高品。”这个说法正道出了 Whether China’s bonsai art can correctly inherit the fine traditions of the nation in its development is a major issue that concerns the ability to maintain the Chinese national style. Therefore, we must strive to identify and affirm the fine part of the history of bonsai and combine it with the current actual situation. For this reason, I would like to talk about several traditional views. First, the Chinese bonsai is the origin and development of the Chinese bonsai of the literati bonsai. It is closely related to the Chinese landscape and Chinese painting and literature. In a long historical process, although bonsai was created by laborers, it has been used by upper aristocrats and cultural people Participate in the possession, are all infused with their taste and aesthetics, has its historical limitations, but also has a high cultural connotation, respect for nature in the method, against the air, in artistic conception with poetry and painting, so bonsai with rich Han Mo flavor joined the ranks of advanced art. The so-called literati bonsai, not to say that only the literati can make bonsai, not literati can not get used to, but that the Chinese bonsai in addition to the form of form, but also have cultural connotations, with a Han Mo flavor. The late Master Zhou Shoujuan, the master of bonsai art wrote in his book Potted Fun: “Every master who makes potted bonsai must have a gully and a belly with poetry and books to produce a pot of poetic and high-quality goods.” The truth is correct