两句古诗,或许人们还记得:“潭州城廓在何处,东边一片青模糊”;“重到扬州十余载,画桥雨过月模糊”。诗人眼里,一旦某种事物难以精确表述时,隐约成形,似与非似的“模糊”,便派上了用场。同样,在根艺作者与批评者的眼里,“模糊”也大派其用。 Two ancient poems, perhaps people still remember: “Where is the outline of Tanzhou City, east of a green blur”; “re-arrived in Yangzhou for more than a decade, painted bridge over the moon fuzzy.” In the eyes of the poet, once something is difficult to be accurately expressed, the vaguely shaped “fuzzy” resembles the nonsense, which comes in handy. Similarly, in the eyes of root art writers and critics, “vagueness” is also useful.