当改革开放的大潮,席卷中国这块悠久历史和悠久文明的土地时,一大批优秀的域外盆景(盆栽)作品,逼到了国人面前。于是乎盆景界一片哗然。或惊异,或欣喜,或自卑,或自弃,或极端,或中庸,由此引发了一场较大规模的盆景创作和理论探讨。其中的问题之一是:中国当代盆景应该用什么作参照来发展自己、完善自己? 我的意见是: 一,东洋盆景不是盆景创作的唯一样式。从目前所看到的资料来分析,我认为,被有些人推崇至极的日本盆景,远不如中国盆景内涵之深和外延之广。中国传统盆景和现代盆景都强调一个“景”字。由景生“境”,由“境”表情。因此,一草一木皆可入盆,一石一水即能成景。表现形式更是多种多样。全不象 When the tide of reform and opening up swept through China’s long history and long and civilized land, a large number of excellent extraterrestrial bonsai (potted plants) works have forced the people in front of them. Ever since the bonsai sector in an uproar. Or surprise, or joy, or inferiority, or give up, or extreme, or moderate, which led to a larger scale bonsai creation and theoretical discussion. One of the problems is: what should be used as a reference for contemporary Chinese bonsai to develop themselves and improve themselves? My advice is: First, the bonsai is not the only style of creation of bonsai. From the information we have seen so far, I think that the Japanese bonsai favored by some people is far behind the connotation and extension of the Chinese bonsai. Chinese traditional bonsai and modern bonsai emphasize a “King” word. From King Seng “Habitat” by the “Habitat” expression. Therefore, all can be planted into a pot, a stone can be a stone into a King. The manifestation is more varied. Not at all