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郭君先生的《清波图》,为水旱式盆景,构图严谨,布局得法。主体为三棵大中小各异的榆树,二正一斜,有聚有散,主树居前,衬树居后,形成不等三角布局,富有立体深度。树态有俯有仰,一呼一应。纵观全局,树岸为实,水际为虚,虚实相映成趣,虚中见实,山石、渔舟点缀其间,谱成一首碧波荡漾的《渔歌曲》。此作亦见不足。如左边的那棵斜飘树,整体树势应斜向水域(有少量分枝回顾主树),把“视觉中心”引向水际,以突出“清波”主题。而现则相反,树势斜出后,来了一个急回头,把视觉中心转移
Mr. Guo Jun’s “clear wave map” for the water and drought bonsai, composition rigorous, well-structured. The main body of three elm trees of different sizes, two positive and one oblique, there are gathered and scattered, the main tree in front of home, lined tree, ranging from triangular layout, full of three-dimensional depth. Tree has a pitch-yo, a call should be. Looking at the overall situation, the tree shore is real, the water is empty, the actual situation side by side, virtual reality, rock, fishing boat embellished during the spectrum into a rippling “fishing song.” This also see insufficient. For example, on the left bank of the tree, the overall tree potential should be oblique to the water (with a small amount of branching back to the main tree) and lead the “visual center” to the water to highlight the theme of “Clear Wave”. On the other hand, after the tree has slipped out of it, an urgent turn came and the visual center shifted