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《易经》中说:“一阴一阳谓之道也。”在中国传统艺术中,似乎都渗透着这一思想。如绘画中重视实景与虚空的安排,书法中强调计白当黑等等均是这一思想的体现。同样,在植根于传统文化土壤中的盆景艺术中,也极为讲究虚实关系的处理。(有景处则实,无景处则虚)。一般说来,实处易把握,而虚处则较难认识与处理。这里谈谈这个
The Book of Changes states: “One Yin and one Yang means that too.” In Chinese traditional art, it seems that all permeate this thought. Such as painting emphasis on real and empty arrangement, emphasis on calligraphy when black and white are the embodiment of this idea. Similarly, in the art of bonsai that is rooted in traditional cultural soils, it is also extremely important to deal with the relationship between the real and the actual. (There are landscapes are real, no landscape at the virtual). Generally speaking, it is easy to grasp in reality, but it is more difficult to know and deal with it. Here to talk about this