A brief discussion on the relationship between the theme of bonsai and degree and quantity

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A brief discussion on the relationship between the theme of bonsai and degree and quantity

Luo Qinglin

The pictures in the article are for appreciation only, and they are not necessarily related to the text!

In the process of bonsai creation, in addition to technology, what we must hold is to establish the qualitative orientation of the theme. Secondly, what must be grasped well is the degree and quantity that adapt to the theme. Because quantity is the strain and self-variable and quantitative of the change of things. It is mainly the basic elements of serving the theme. Degree is the state that things reach, and quantity is the node that satisfies the theme, that is, the critical point. What we call a good grasp is to ensure that the corresponding theme remains the same. If in the bonsai art creation, the strain and self-change of quantity and the degree of quantity are not well controlled, the degree of quantity can not reach the node of the theme, the quantity can not meet the theme, and the central idea is not in place. That's what we mean when we're not mature enough. If in the bonsai art creation, the degree of quantity exceeds the node of the theme, then the central idea will deviate, and the theme will change accordingly, that is, we do not know how to control and put too much.

Li Jiantang: "born with the same Root", Fujian Tea, 70 × 80cm.

Huang Zhenyu: March in the South, Zanthoxylum nitidum, 85 × 95.

Bonsai art creation, no matter what faction, what style, without the relationship between quantity and degree mentioned above, or do not hold it well, it is very difficult to create an ideal bonsai art work. Cutting and storing branches, cutting straps, pulling left and right, jumping down and jumping up and down are all the overall creative layout around the theme of the relationship between quantity and degree. Therefore, no matter who is in the creation, who can comprehensively hold the degree and quantity around the theme, use more comprehensive theory of bonsai creation art, and through the practice of skillful creative technology, it is bound to create better or relatively relevant bonsai works.

Jane Maode's work "drunken invitation to the Moon" (Mountain Pine).

We can watch bonsai exhibitions on different platforms in different places, and all the award-winning works make full use of various technologies to control the degree and quantity very well around the theme, and can fully express the author's ideas. And those works that do not win the prize, is the technology not good? No. So, why didn't you get the prize? Of course, there are many factors, especially it is obvious that there is no relationship between degree and quantity in the creation, and the theme is not expressed relatively perfectly. Apart from the great differences in the problems that arise, the overall performance is not as good as that of people, which is bound to draw a distance. To tell you the truth, it is not surprising that some of the skills are quite good and did not win the prize. Because the general evaluation is an overall, comprehensive and comprehensive overall evaluation. As a result, many people may ignore this point and misunderstand and judge the judges.

Jane Maode's work Song and Dance is peaceful (Zanthoxylum nitidum).

The technique is good, the branch method is good, but the work created has no theme, no thought, or is far from the theme, and the relationship between the overall degree and quantity is out of balance, and the collocation is disorganized. How would you judge and comment? Therefore, the creation of bonsai art should not only have the corresponding skilled technology, but also have the comprehensive quality of many aspects of the creative theme. This quality is unlimited, what kind of quality you have, what kind of level works you create. Maybe this is what we call the gap. These gaps are not inborn, but are acquired through continuous hard study and long-term creative practice. As the old saying goes: sailing against the current, not to advance is to fall behind. With the development of bonsai art and culture, only continuous learning and practice, continuous innovation on the basis of inheritance can meet the growing needs of social culture.

Huang Aoxun: "Shenchi", five needles pine, 80 × 85cm.

The most real reality is how to make one's own work better, how to use skillful technology in creation, how to grasp the quantity corresponding to the theme of one's own work to do closer to the node of the theme, and how to grasp the relationship between the theme and the degree and quantity, so as to make the work Zhang appear more perfect, which should be the goal and direction pursued by all the creators.

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