1999年4月1日,本人有幸参加了第五届华中地区盆景学术讨论会。会上诸多专家的学术理论报告,使我受益匪浅,尤以中国盆景艺术大师贺淦荪教授的学术报告,更是言简意赅,令我感悟至深。在此之前,我对贺老所提倡的“自然的神韵,活泼的节奏,飞扬的动势,写意的效果”的盆景艺术风格神往已久。可是,对于“风动势”的提倡却总片面地认为其具有一定的局限性。听了这次大会中贺老的学术理论报告,参观过送展作品,我不由顿然大悟……正如贺老所说,“风动势”只是一种艺术范畴,这就好比书法、绘画,创作的目的一样,而其表现的形式是千变万化的:“规 April 1, 1999, I was fortunate to participate in the Fifth Central China Basin Seminar. I learned a lot from the academic reports of many experts at the conference. The academic report by Prof. He Gansen, the master of Chinese bonsai art, is even more succinct and conclusive. Before that, I was fascinated by the artistic style of bonsai advocated by He Lao for ”natural charm, lively rhythm, flying momentum and freehand effect.“ However, the advocacy of ”Wind Momentum “ has always been considered one-sidedly as having certain limitations. After listening to the academic report of He Lao in this conference, I have not seen a sudden visit to the exhibition work ... As Helao said, the ”trend of the wind“ is just an art category, which is like the calligraphy and painting , The same purpose of creation, and its performance in the form of ever-changing: ”regulation