多次接触竹乡崇义县田发建先生创作的竹桩盆景,好几次想找个角度来谈谈他的竹桩盆景特点,可都是想了大半天而又无从下笔。也许,就盆景艺术的自身结构问题来理解和探寻他对清刚、耿直、贞心之竹的独特视角和思考,是“以形媚道”的归趣。也正因此,他采用“提根栽培法”来造竹,将近二十年的苦苦追寻,方成盆盎一片景,呈现给你我眼前的视觉震撼又岂止是一个“翕辟成变”的情感轨迹?竹桩的盘根错节、穿插曲绕,构架成一种瘦、皱、漏、透的竹根特色。盆景?根艺?其实我们关注的并非是一种可否作为盆景空间的单纯样态、一种存在于图样式的局限所表现出的作者语言,而应多探究他或是我们体悟盆景之道的理性和“神超形越”、“穷神 Repeatedly contacted bamboo Chong Chong County Tianfajian creation bamboo pile bonsai, several times looking for an angle to talk about his bamboo bonsai characteristics, are all thought for most of the day and can not write down. Perhaps, the unique perspective and thinking of Bonsai art in understanding and exploring the unique structure and structure of bonsai art is a key element of ”bodhisattva“. It is precisely because of this, he adopted ”cultivation of the root “ to make bamboo, nearly two decades of hard pursuit, square into a pot of King, presented to you my immediate visual shock is more than just a Change ”emotional trajectory? Bamboo pile of the wrong section, interspersed song around, framed into a thin, wrinkled, leaky, transparent bamboo roots characteristics. Bonsai root art In fact, we are not concerned about whether it can be used as a bonsai space simple style, a figure exists in the limitations of the author language, but should explore him or we understand the way of bonsai Reason and “God super-shaped ”, "Poor God