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关于原石的条件好不好的问题,前面我们说过,责任不完全在石,还与人的合理运用有关,这里要强调的是,还与我们会不会看有关。因此,条件好,还要会看,如果不会看,即使有好的条件也等于没有。在一些石友的意识中,好的条件就是变化大,尤其是奇形怪状大开大合的石体形态,这或多或少受到了传统赏石对瘦、透、漏、皱要求的影响。其实,不少原石的优秀条件却含蓄地蕴藏于平淡之中。原石条件的好坏,与表现对象的要求有关,关键在于我们的认识、了解与把握。景观石《近水楼台》的原石形态条件非常优秀,虽然变化不大,却为主题鲜明的创作提供了充分的条件。
As for the condition of the rough stone, we have said earlier that the responsibility is not entirely in stone, but also related to the rational use of human beings. What we should emphasize here is whether we will look at it or not. Therefore, conditions are good, but also will see, if you do not see, even if there are good conditions is equal to no. In some Shi You’s consciousness, the good conditions are the great changes, especially the bizarre stone form, which is more or less influenced by the requirements of traditional stone appreciation. In fact, many excellent conditions of the original stone are implicitly contained in plain. The condition of the rough stone is good or bad, which is related to the performance of the object, the key lies in our understanding, understanding and grasping. Landscape stone “near the water tower,” the rough stone morphology is very good, although little change, but for the creation of a clear theme provides sufficient conditions.