藏与露盆景在有限的盆中要展现无限的空间,处理好藏与露的关系十分重要。藏是含蓄蕴藉,露是浅露直率。中国美学主张含蓄,认为景愈藏境界越大。虽然主张表现但并不象西方那样主张情感的直接表达,而要将情感深“藏”于审美意象之中来启人联想,导人回味。这也就是中国美学和西方美学的重大区别之一。中国江南私家的庭园小中见大,曲径通幽。利用地形的起伏,树木的遮映,门窗墙廊的阻隔,达到峰回路转,步移景异的境地和山重水复疑无路,柳暗花明又一村的效果。此外,还通过对联、匾额的题写将诗情画意渗入园林,使游人产生种种联想,使景外有 Potted and dew bonsai in a limited basin to show unlimited space, dealing with the relationship between possession and dew is very important. The possession is implied, the dew is shallow and straightforward. Chinese aesthetics advocates implicitly that the greater the King Yuzang state. Although it advocates performance but does not advocate the direct expression of emotion as in the West, we should “hide” the emotion in the aesthetic image to inspire associations and guide people to aftertaste. This is one of the major differences between Chinese aesthetics and western aesthetics. The private gardens in southern China see a large, winding road. The use of terrain ups and downs, the trees of the shade, doors and windows wall barrier barrier, reaching the peak of the cycle, step by step King landscape and mountain heavy water doubtless, wicked and another effect. In addition, but also through the couplets, the inscription of the inscription will poetic infiltration into the garden, so that visitors have a variety of associations, the scenery outside