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中国盆景艺术作为民族文化的一种表现形式和载体,受吉祥文化及传统习俗的强烈浸染及影响,在喜庆的庆寿环境和气氛的熏陶下,势必也要在题材、形式及内容等方面,表现出庆寿的文化传统及意蕴。大约在宋代,作为十八学士之一的盆景植物材料——桃树,在“花开则三影,结实则九影,平时观其形,花开赏其艳”的基础上,经盆景艺人的精心构思,巧妙制作,创造性地将主干蟠扎,制作成草书“寿”字,匠心独运地将书法艺术和盆景艺术巧妙地结合。就这样,文字型树桩盆景技艺便应运而生,并于明代洪武年间,随百余万之众汉民的迁徙,从江南地区传入云南,并在云南不断地深化发展,成为我国盆景艺术中一枝独秀的奇葩。
As a manifestation and carrier of national culture, the bonsai art in China is strongly influenced by the auspicious cultures and traditional customs. Influenced by the festive celebration of the environment and atmosphere, the bonsai art in China will inevitably be subject-matter, form and content, Show Qingshou’s cultural traditions and implications. About Song Dynasty, as one of the 18 bachelors bonsai plant material - peach tree, “flowers are three shadows, sturdy is nine shadow, the usual view of its shape, flowers show its brilliant” on the basis of the bonsai artist The meticulous design, clever production, creatively, the backbone of Panza, made into the cursive “Shou” word, painstakingly art and bonsai calligraphy art skillfully combined. In this way, text stump bonsai art came into being, and in Hongwu years of Ming Dynasty, with the migration of millions of Han people, from the southern region into Yunnan, and continue to deepen the development of Yunnan, China’s bonsai art thriving Wonderful work