改革开放的春风将我国的盆景艺术吹得生机勃勃,使得这门在我国既古老而又年轻的艺术近十多年来有了较大跨度的发展,形势喜人。但欣喜之后却又觉得很有些忧虑。这就是从现阶段看,在我国盆景艺术发展中存在着几个必须正视的问题,如不正确对待,将对我国盆景艺术的创新与发展带来十分不利的影响。盆景艺术在我国有千年历史,可谓古老。说它年轻,可以说,在改革开放以前,在我国大多数人心目中根本不知道有盆景这门艺术的存在。盆景只限于几个文化比较发达的地区,一部分人作为附庸风雅的摆设与玩物。盆景艺术被长期禁锢在一个狭小的圈子内,加之,在制作上父子相传,师徒授受的原因,使得盆景如一种工艺,成为一种模式化、规范化的生产,导致了盆景千盆一面的僵化局面,使得作为一门艺术的盆景却长期徘徊于艺术殿堂之外。这种只重技巧而不重创造的工匠意识,至今还严重阻碍着盆景的发展。当然,一个艺术工作者需要用很大的精力去进行技术的 The spring breeze of reform and opening up the bonsai art in our country has been booming, making the development of this ancient and young art in our country a relatively large-scale development in the past decade or so. The situation is gratifying. But after the joy but feel very worried. This is the view from the present stage. There are several problems that must be faced in the development of art of bonsai in our country. If not properly treated, it will have a very adverse impact on the innovation and development of art of bonsai in China. Bonsai art in our country has a thousand years of history, can be described as ancient. To say that it is young, we can say that before the reform and opening up, the majority of people in our country did not know the existence of the art of bonsai at all. Bonsai is limited to several more developed areas of culture, some people as artwork and plaything. Bonsai art has long been imprisoned in a narrow circle, in addition, in the production of the legend of father and son, the reasons given by disciples, making bonsai as a process, as a model, standardized production, resulting in the bonsai one side of the rigid As a result, bonsai as an art has long lingered outside the palace of art. This kind of craftsmanship consciousness, which is not only created by skill but heavy weight, has seriously hindered the development of bonsai. Of course, an artist needs a lot of energy to go with the technology