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在诗歌、小说、绘画、雕塑、戏曲、电影等文艺作品的大家族中,题名是必要的,也是十分普遍的。受中国画画理影响极深的中国盆景,在题名方面更显示其艺术表达形式的共性。几乎同国画的题款、钤印一样,成了必不可少的表达方式。盆景的题名大多从形意、情景、诗画、文史、典故等诸方面去考虑。这样做的作用是显而易见的。便于交流和评介。作为艺术,技艺的交流是十分频繁的。文字的、图像的,书面的、口头的传播必须有所指。提起《刘松手笔意》就知是杭州潘仲连先生的佳作;评价贺淦荪先生的艺术成果,盆景艺术圈内没有人不知《秋思》和《风在吼》;说到《秦汉遗韵》必然
In the great family of literary and artistic works such as poetry, novels, paintings, sculptures, operas and movies, the title is necessary and very common. Chinese bonsai, deeply influenced by Chinese painting and painting, also shows the commonalities of its artistic expression in the title. Almost the same as the Chinese painting inscriptions, India, has become an indispensable expression. Most of the bonsai title from metaphor, scenarios, poetry and painting, literature and history, allusions and other aspects to consider. The role of doing so is obvious. Easy to communicate and comment. As art, art exchange is very frequent. Text, image, written, oral communication must be referred to. Mentioning the handwriting of Liu Song, the masterpiece of Mr. Pan Zhonglian in Hangzhou; evaluating the artistic achievement of Mr. He Gansun, no one in the art circle of bonsai knows “Autumn Thoughts” and “The Winds Shout”; when it comes to the “legacy of Qin and Han Dynasties”