所谓弃微毛、识大貌,联系到盆景艺术创作,亦即不拘谨于细节的谨小慎微,而注重于整体的形象力度、气度的把握,不在乎形象如何的逼真与面面俱到,而求简略、率直、粗旷与“以形传神”的形象塑造。弃微毛、识大貌,还须以简驭繁。善简,不仅能增添作品的含蓄与意境,且有益于风骨的表现。弃微毛、识大貌,摆脱各种常见的既定盆景形式和惯性思维的羁绊,才能解放思想、放开手脚,展开想像的翅膀,更自由地发挥创意。(摘自《潘仲连盆景艺术》一书。) The so-called abandonment of micro hair, big face recognition, contact with the bonsai art, that is not formalistic cautious, and focus on the overall strength of the image, tolerance, do not care how vivid and exhaustive of the image, and seeking simple, straightforward, Rough and “shape to express God” image of the shape. Abandoned hairy, big face recognition, but also to simplify Yu-Ching. Jane, not only can increase the subtle and artistic conception, but also beneficial to the performance of style. Abandonment of micro hair, know the big picture, get rid of a variety of common established bonsai form and inertial thinking of fetters in order to emancipate the mind, let go, open the wings of imagination, more freedom to creative. (From “Pan Zhonglian bonsai art” a book.)