“自然缩影”,人们已习惯于把这一提法作为盆景艺术最基本的概括,以此来说明它是自然景象的客观反映。但此话过于简扼,涵义欠完整,因为它没有体现创作中由具象进到艺象这一十分重要的升华过程,容易使人望文生义,落入自然主义的窠臼。因此通常又有“源于自然,高于自然”、“无声诗、立体画”这样一些众所周知的注脚加以补充。这些提法的理论依据是认识论上的客观反映论,也即是再现论或摹仿论。 “Natural microcosm”, people have become accustomed to this formulation as the most basic summary of bonsai art, in order to illustrate it is an objective reflection of the natural scene. However, this remark is too brief and incomplete in its meaning because it does not reflect the very important process of sublimation from figurative into figurative in the process of creation. It is easy to make people literate and fall into the trap of naturalism. Therefore, it is usually complemented by some well-known footnotes “from nature, above nature,” “silent poetry, and stereoscopic painting.” The theoretical basis of these formulations is epistemological objective reflexivity, that is, the theory of reproduction or imitation.