梁绍基的创作以生命为要核,以生物为媒介,以桑蚕吐丝为主要造型手段,并与自然互动而著称。但对于任何西方人,若欲真正理解他的作品,我们只有略知中国传统,才能理解他为何津津乐道于在中国古建筑的朽木中发掘生命的精髓,又为何常在作品中以蚕丝来隐喻人生的愁苦与奋争。我们至少还应略晓中国思维多义的重要性,比如在中国古诗词中丝、竹、烛、 Liang Shaoji’s creation takes life as the nucleus, biology as the medium, silkworm silk spinning as the main modeling method, and is well known for interacting with nature. However, for any Westerner to truly understand his work, we can understand why he is relishing the essence of life in the dead wood of ancient Chinese architecture, and why he often uses silk to make his works Metaphor of life sorrow and struggle. We should at least be slightly aware of the importance of China’s polysemy. For example, in ancient Chinese poetry, silk, bamboo, candle,