论文部分内容阅读
在塑造人(动)物形象根艺作品时运用“点睛术”,不外两个原因:一是作品的需要;一是作者的喜欢,这都无可非议。如果在理论上加以限制,这不利于百花齐放,有碍根艺事业的发展。眼睛是五官的窗口,用“点睛术”给人(动)物形象一对富于乐感的眼睛,使之传“神”,怎能说是“画蛇添足”?不错,根艺贵在自然,以模模糊糊的朦胧为“美”,没有眼睛,可能与整体结构更为吻合。但在这各有所长的天平秤上,为什么非要苛刻“眼睛”。这里试以包其明先生的《跃跃欲试(鹤)》(《中国花卉盆景》1989·11、12合刊·P10,以下刊名略)和林祥梧先生的《鹤》(1989·10·P20)
There are only two reasons for using “eye-pinning technique” in shaping the root art works of people (moving) objects: one is the need of the work; the other is the author’s liking, which is beyond reproach. If theoretically limited, this is not conducive to flourishing, hinder the development of root art career. The eyes are facial features of the window, with “eye surgery” to give people (moving) image of a pair of rich feeling of the eyes, so that “God”, how can we say “superfluous?” Yes, Genyi in nature, To obscure obscurity as “beauty”, without eyes, may be more in line with the overall structure. But why do we have to harsh “eyes” on scales that have their own strengths? Here to try Mr. Bao Qiming’s “eager (crane)” (“Chinese flower bonsai” 1989.11.12, P10, the following title omitted) and Mr. Lin Xiangwu “crane” (1989.10 P20 )