我们总喜欢谈中国盆景的悠久历史,谈发展成就,谈惯了“大好形势”。其实,对艺术的探讨不能总讲长处,揭一点短抑或有益。中国盆景在历史长河中步履蹒跚地徘徊了千余年,目前的景况实在让人不敢乐观。同是华夏国粹,书法、国画、京剧倾倒了多少洋人。而称与书画同源的中国盆景跟这“三件宝”对照,未免相形见绌了。日本盆栽在国际上占着主导地位,台湾地区、美国、韩国……大有后来居上之势。我国在盆景出口方面,以简易小盆栽为大宗,而日本却出口高档盆栽,我们无形中更抬高了日本盆栽的声誉。 We always like to talk about the long history of Chinese bonsai, talk about the development achievements, get used to the “great situation.” In fact, the discussion of art can not always talk about strengths, exposing a short or useful. Chinese bonsai staggered in the long river of history wandering for more than a thousand years, the current situation is really not optimistic. The same is the Chinese nationalist, calligraphy, traditional Chinese painting, Peking Opera dumping the number of foreigners. The Chinese bonsai, which is said to be of the same origin as the calligraphy and painting, is incomparably dwarfed by the comparison with this “three treasure”. Japanese potted plants occupy a leading position in the world. Taiwan, the United States and South Korea ... have much to gain from this trend. In the export of bonsai in China, simple potted plants are large, while Japan exports high-grade potted plants. In fact, we have even raised the reputation of potted plants in Japan.