顾盼呼应作为拟人手法经常在盆景造型中应用,且往往融入审美视线中加以要求强调,赏析评判。这也许是人类源于自然归于自然的某种昭示,一种与自然难以割舍的缘情,一种情感的契合,心境的需求。盆景作为“活”的艺术,其雅俗共赏的特点及其可塑性,很适合于人与自然之间近距离的亲和感应,这种感应所要表达的情结状态转化为盆景造型中的顾盼呼应。而这人化的、抽象感性的状态如何在物化的具体形态中得以体现呢?本文试以图解说明。既然是“拟人”,那么盆景作为可视的具体实在物,其形态与人之间必然存在某些契合点,从这个角度而言,“顾盼呼应”是不是存在两方面的构成关系及其特征:一是其形态与人之间的交感认同;二是盆树枝、干等相互间的彼此关联。据 Gu Zhu Echo as a personification techniques often used in bonsai modeling, and often into the aesthetic line of sight to be emphasized, appraisal. This may be the result of a certain manifestation of human nature due to nature, a situation that is difficult to break away from nature, an emotional fit, and a mood need. Bonsai as a “living” art, the taste and elegance of its taste and plasticity, it is suitable for close proximity between man and nature of the induction, the feeling of the complex state of the expression should be transformed into bonsai styling in response. How can this humanized abstract abstract state be reflected in the concrete form of materialization? Since it is “anthropomorphic”, then the bonsai as a visual reality is the object, there must be some fit between its form and human, from this perspective, “look forward to response” is not there is a relationship between the two and its characteristics : First, the sympathetic recognition of its shape and human; Second, the potted branches, stem and mutual relations between each other. according to