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玉不琢不成器。同样道理,根材的本身不是根艺,在没通过人工“雕琢”之前多美的树根,仍然是死木头疙瘩。所以说根艺品的人工美是起主导作用的,而根艺的自然美是先决条件,缺一不可。同一根材,在不同艺术素质作者的手中就会出现不同层次的作品。这就是说只有把自然美和人工美结合得恰到好处才会产生根艺的成功之作。所谓“三分人工,七分天成”的根艺创作原则之说,咋听起来似乎很有道理,但是,经细细品味,就不那么科学不那么准确了。原因就是把“雕”的多少作为根艺与其他艺术(如木雕、玉雕、雕塑等)的分界线,是概念上的糊涂。如果我们从根艺品整个制作过程的每道工序都看成是“雕琢”的话,那么“三、七开”的说法就不够恰当了。屠一道先生的“佛手”(见《花木盆景》一九九二年第五期彩页),这件成功之作“雕琢”的人工美
Jade is not cut, not a device. By the same token, the root material itself is not the root art, and the root of beautiful trees is still dead wood pimples before it is artificially “carved.” Therefore, the artificial beauty of root art products plays a leading role, while the natural beauty of root art is a precondition, indispensable. The same root material, in the hands of different artistic quality will appear at different levels of work. This means that only the combination of natural beauty and artificial beauty is just right to produce root art success. The so-called “three-man-made, seven days into the root” principle of art creation, how loudly sounds seems very reasonable, however, savored, not so less scientific and accurate. The reason is that the number of “carving” as the root art and other arts (such as wood carvings, jade carvings, sculptures, etc.) the dividing line, is the concept of confused. If we think of every step of the whole process of making a root art as “carving out,” then the statement of “three or seven opening” is not appropriate enough. Mr. Tu’s “bergamot” (see “bonsai” fifth leaf color pages in 1992), the success of the “carving” artificial beauty