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我认为,目前根艺理论界存在着两种错误的审美取向,一是将根艺创作绝对自然化,认为只有纯天然的根,才符合根艺美的原则;另一种则将根艺创作指向相对人工化,即过分强调人在根艺本体中的地位和作用。这两种取向若不及时地加以理析,扬弃,将会对根艺事业产生深刻的负影响。绝对自然化倾向,它以中国古典艺术理论为依据,强调作品的意趣、形趣和浑然天成的韵味,而排斥经过人工斧凿的作品。不言而喻,形神兼备、浑然天成应成为根艺作品的最高审美标准。但它决不是也不应该是绝对排斥人工痕迹。
In my opinion, there are two erroneous aesthetic tendencies in Genyi theory. One is to absolutely naturalize Genie’s creation, that only purely natural roots meet the principle of Genyi and the other is that Genyi’s creation points to Relative artificial, that is too much emphasis on the human body in Genyi’s status and role. If these two kinds of orientation are not analyzed in time, they will have a profound negative impact on the cause of root art. Absolute natural tendency, which based on the theory of Chinese classical art, emphasizing the work of interest, interest and natural flavor, but excludes artificially axiom works. It goes without saying that both form and spirit, nature should become the highest aesthetic standards of root art works. But it is by no means absolute exclusion of artificial traces.