Bonsai creation: deficiency and reality are born together, and they are dense and sparse.

The so-called deficiency and reality refers to the relationship between fullness and emptiness, sparseness and density. When it is too full, it looks clumsy, bloated, and suffocating. Therefore, it is necessary to be sparse and dense, and it is suitable for deficiency and reality. If it is dense in one place, it must be sparse in one place in order to soothe its qi. But should not be too sparse too empty, lest all things in the basin lose contact, the Lord does not care for each other, resulting in pulse qi can not be coherent. When burying the relationship between the parts of a bonsai, there should be a difference between deficiency and reality and density; when dealing with a certain part, there should be emptiness in reality, emptiness in reality, thinning in density, and density in sparse. Therefore, virtual and real bonsai art is also a crucial issue.

As a person of emptiness, one can understand the power of emptiness and reality, or nothing and being, while those who are in reality can understand the inner emptiness and reality. The so-called reality refers to the image that can be seen in the bonsai, while the virtual world is the image generated by the reality in association and imagination. The artistic conception of bonsai is the unity of reality and emptiness. As a work of art, there is no life without the active imagination of the viewer. A basin of excellent bonsai works, can make the viewer mind wandering, beneficial travel is empty. Therefore, emptiness and reality are opposing unity. And emptiness is always pinned on a certain reality, without reality, there is no way to exist; and reality can not be separated from the supplement of emptiness, without vanity, there is no room for imagination. Therefore, works of art must be virtual and real.

In bonsai, the shaping of scenery is not the ultimate goal, but a means of expressing emotion in the landscape, which requires both a sense of reality and a sense of emptiness. Bonsai itself is virtual, because it shows the natural scenery, but after all, it is different from the real natural scenery. As an artistic technique, the relationship between emptiness and reality causes the viewer's sense of reality due to mutual deficiency, while others are based on reality and cause the viewer's sense of emptiness, that is, the so-called "emptiness is reality, and reality is emptiness", "there is emptiness in reality, and reality is also virtual; emptiness comes out from reality, red emptiness is also real, and finally achieves" the interaction of emptiness and reality "and" turning the scene into emotion, forming the artistic conception of the work. "

The understanding of the relationship between virtual and real in the creation and appreciation of artistic conception has a long ideological origin and a solid basis for artistic creation. In the end, the universe is the combination of emptiness and reality, and objective things in this Song Dynasty are the combination of yin and yang, deficiency and reality. Since bonsai art wants to truly and vividly reflect the living world, it must use the inherent dialectics of virtual and real things. Chinese artists of all ages have followed this law and created countless art treasures. The relationship between deficiency and reality in tree stump bonsai is mainly reflected in the aspects of branches, leaves and trunk, trees and space, trees and basin soil, and roots. Generally, the space is virtual, the trunk is solid, the branches and leaves are virtual relative to the trunk, and the relative space is real. In the arrangement of plants in the branch and leaf region, the evacuation place is virtual and the dense place is solid. Therefore, pruning, comparison, carving, basin layout and other means can be taken to adjust the relationship between virtual and real, so as to achieve the relationship between virtual and real.

In the landscape bonsai, the mountain is solid, the water is virtual, the mountain surrounds the water, the water surrounds the mountain, and the combination of the landscape is the combination of the virtual and the real, through the layout of the mountains and rocks, the water shoreline and the treatment of karst caves, flowing springs, waterfalls and so on. Can contribute to the birth of virtual and real. If the contribution is solid to the tree, the mountain is solid, the tree is virtual, and the tree and stone depend on each other, then there is emptiness and reality, and it is important to say that the peaks, mountains, hills, valleys, valleys, valleys and caves are solid, and it is important to bury 20,000 faces. Trees are empty relative to rocks and solid relative to water surface and space. Therefore, when modeling, such as water stone too empty, can be equipped with small reefs or embellished boats, bridges; over-solid mountains and rocks, you can cut holes and gullies to plant trees; water falls and so on, in order to achieve "virtual".

Bonsai is the artistic generalization and artistic reappearance of famous mountain people, Chuan and Qi hundred old trees. To create bonsai, the most important thing is to have a hilly forest spring on your chest before there is a "summary." And "reappearance". Learning from nature and learning from nature is an important work of collecting materials and a prerequisite for creation. Of course, since it is a creation, it is not a copy of the daily scenery, not a mirror-like "microcosm", but a combination of realism and romanticism. How can it be strange to come out of thousands of miles, and how can the water of thousands of miles be fully displayed?

Bonsai creation must not carefully observe and study the towering old trees, and seriously carry out some artistic processing of tailoring, trade-off, rendering and exaggeration in order to centrally and typically reproduce nature. For human beings, poets, painters and artists of all ages eulogize and worship infinitely, absorb nutrition from nature and enrich their own creation. Bonsai workers must also spare no effort to climb mountains and wade, do not make in-depth research on the effluent trees, grasp the characteristics and master the rules. Mountains, or quiet, or show, or dangerous, or male, or strange; trees, or vigorous and bold, or chic and elegant. Concentrate on capturing its characteristics. And each feature, we should pay attention to the subtle difference, search Qifeng to hit the stomach manuscript.

A hundred people have this experience: "since Jiangling climbed the Sanlai Gate, the river has been flowing for more than 3,000 miles." The vortex is back, and the male waves are ready in the meantime. Cliffs, high winds on steep banks, steep mountains and deep rocks, secluded springs and valleys, tiger den and dragon pools, extremely dangerous and dangerous, showers and winds, all experienced.

"the cultural level of many bonsai technicians is not high, but they can create fine works with both artistic conception and spirit, which is the result of their efforts to observe nature and" travel thousands of miles. " Of course, the emphasis on traveling thousands of miles and having hills in the chest does not deny reading ten thousand books and hiding poems in the belly, but to clarify the source, and not to learn from a hundred people as the source. If we put the cart before the horse, the artistic source of bonsai will be exhausted.

How to learn nature and what to learn? To learn from nature is to grasp the characteristics, characteristics, expressions and situations of all kinds of paspalum things, and to grasp the regularity of things. Everything in nature has a certain regularity. Trees have growth, development, flowering, fruiting, deciduous leaves, dormancy and other laws; mountains have spring, summer, autumn and winter, sunny and rainy day and night. As far as plants are concerned, each has different botanical forms and biological characteristics, strange posture, variety, such as bamboo, pine green and vigorous, sweet-scented osmanthus fragrance, begonia charm, etc., each has its own characteristics.

Shen Tian Qi is quiet, which makes people suddenly get rid of their mania and elegance; they can gather the strengths of ancient families and become their own demeanor, and people are elegant without losing the spirit of famous scrolls. " In short, the more meticulous you observe things, the more you will be able to do whatever you want in your creation. "follow the class of gambling, so that the works are similar in shape and spirit, and have a vivid and touching artistic conception.

The so-called resemblance means that the works of art vividly reflect the appearance of objective objects; the so-called spiritual resemblance refers to the vivid and distinct appearance and unique personality of things. Shape is the foundation, and if there is no resemblance in shape, there will be no resemblance in spirit. However, if we stick to the resemblance and pursue the local reality of the appearance, we can only highlight the ethos and personality characteristics of the object. Here, God is the key, the form is to convey spirit, form and spirit must be both, both are indispensable. Due to the limitations of materials, forms of expression and other objective conditions, bonsai art is affected to a certain extent in realism. If it pursues strict likeness, it is often distorted, not to mention the ultimate goal of bonsai art is to express artistic conception.

To express one's feelings, only by having both form and spirit can this goal be achieved. The aesthetic requirements of both form and spirit are "not similar". We emphasize that bonsai should be in line with nature, worship does not mean to become a model of natural scenery. If the bonsai wants to pull out the broken wood to "shrink the dragon into an inch" and "shrink thousands of miles from the ground", to reach "one peak is a high rate of thousand fathom, and one even is ten thousand miles", it must be summarized, condensed and concentrated, and it cannot be completely similar. Compared with the scenery in the bonsai, although the shape is not completely similar, the spirit is similar, and only when the shape is not completely similar, can we achieve the spiritual resemblance, too much resemblance, but lose the charm.

In the creation of bonsai, in order to achieve both form and spirit, we must start from all aspects. First of all, we must have a full understanding of the performance of the object, in order to highlight God, when choosing the performance object, we should make an appropriate summary and choice of shape, and sometimes only choose "half a claw", that is, to seek simplicity in complexity. In the processing and production, for plants, rocks, etc., we must do the art in accordance with their aptitude, in order to make full use of its inherent form to show a natural charm.

In the layout selection, we must flexibly use the relationship between form and spirit, in order to achieve the perfection of the image, so that the viewer can stimulate the sense of Qian, produce association and resonate. Form a far-reaching artistic conception, and the artistic conception is the lack of fusion of the scene. And every plant and every tree, every mountain and river in the basin infuses the author's subjective feelings, condenses the author's thoughts and feelings, and produces infinite associations from the limited scenery. For example, if the pile head and trunk are vigorous, rugged and intertwined, they will be molded into a big tree or old banyan type; if the head root is smooth and the trunk is sideways, it will be molded into a fluttering tree; if the trunk is straight and straight into the sky, it will be molded into a large cotton tree, and so on. It is required that the form of the work is in line with nature, so that each form has its own personality and characteristics, including both natural beauty and artistic beauty, so as to achieve the creative purpose of "originating from nature and higher than nature".

Time: 2019-05-23 Click: