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襄(xiang)陽鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)在(zai)所有(you)的(de)建(jian)筑材料中可能就(jiu)(jiu)數(shu)鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)是(shi)(shi)(shi)(shi)(shi)純天然綠色裝(zhuang)修(xiu)材料了，因(yin)為(wei)(wei)其(qi)有(you)著良好的(de)使用(yong)(yong)性能被人們廣泛的(de)使用(yong)(yong)在(zai)加(jia)工(gong)生(sheng)產建(jian)筑當(dang)中，很(hen)多人都(dou)問(wen)鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)是(shi)(shi)(shi)(shi)(shi)不(bu)(bu)是(shi)(shi)(shi)(shi)(shi)跟鵝(e)(e)(e)有(you)關系，或者是(shi)(shi)(shi)(shi)(shi)鵝(e)(e)(e)蛋經過長(chang)時間(jian)的(de)演化(hua)變成(cheng)現在(zai)的(de)鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)。其(qi)實根(gen)本(ben)(ben)是(shi)(shi)(shi)(shi)(shi)和鵝(e)(e)(e)沒有(you)任(ren)何的(de)關系主要的(de)原(yuan)因(yin)只(zhi)是(shi)(shi)(shi)(shi)(shi)因(yin)為(wei)(wei)它(ta)的(de)形狀、大(da)小(xiao)都(dou)特別想鵝(e)(e)(e)蛋才會(hui)命名為(wei)(wei)鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)而已(yi)，鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)經過加(jia)工(gong)之后制(zhi)造(zao)出來的(de)不(bu)(bu)同(tong)(tong)大(da)小(xiao)的(de)鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)有(you)不(bu)(bu)同(tong)(tong)的(de)作用(yong)(yong)主要還是(shi)(shi)(shi)(shi)(shi)以(yi)裝(zhuang)修(xiu)裝(zhuang)飾(shi)為(wei)(wei)主，襄(xiang)陽鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)的(de)衍(yan)生(sheng)物(wu)有(you)哪(na)些相(xiang)信很(hen)多人都(dou)見(jian)過那(nei)就(jiu)(jiu)是(shi)(shi)(shi)(shi)(shi)雨花石(shi)(shi)(shi)(shi)、造(zao)景石(shi)(shi)(shi)(shi)和文化(hua)石(shi)(shi)(shi)(shi)等(deng)等(deng)，不(bu)(bu)管(guan)是(shi)(shi)(shi)(shi)(shi)在(zai)景觀上(shang)還是(shi)(shi)(shi)(shi)(shi)裝(zhuang)飾(shi)收藏上(shang)都(dou)是(shi)(shi)(shi)(shi)(shi)不(bu)(bu)錯的(de)選擇，很(hen)多商家(jia)選用(yong)(yong)本(ben)(ben)質就(jiu)(jiu)比(bi)較好的(de)鵝(e)(e)(e)卵石(shi)(shi)(shi)(shi)在(zai)進行深加(jia)工(gong)比(bi)如：雕刻不(bu)(bu)同(tong)(tong)的(de)花紋或者形狀那(nei)么(me)就(jiu)(jiu)能形成(cheng)不(bu)(bu)同(tong)(tong)種類的(de)和價位的(de)工(gong)藝品了。

 
襄(xiang)陽(yang)鵝卵(luan)(luan)石(shi)(shi)(shi)在巨型(xing)鵝卵(luan)(luan)石(shi)(shi)(shi)具古、拙之(zhi)美(mei)，歷(li)經千年的(de)風吹雨淋(lin)剝蝕(shi)而成，有著非常(chang)堅韌(ren)的(de)品質(zhi)。中國人(ren)欣(xin)賞(shang)的(de)石(shi)(shi)(shi)，不僅怪(guai)而且要丑(chou)(chou)。中國藝術家對怪(guai)且丑(chou)(chou)的(de)石(shi)(shi)(shi)頭倍加欣(xin)賞(shang)，而清代的(de)鄭板橋有精彩之(zhi)論：米元(yuan)章論石(shi)(shi)(shi)，曰瘦、曰皺(zhou)、曰漏、曰透，可謂盡石(shi)(shi)(shi)之(zhi)妙矣。東坡又曰：石(shi)(shi)(shi)文而丑(chou)(chou)，一(yi)丑(chou)(chou)字(zi)則(ze)千態萬狀皆從此出……燮(xie)賞(shang)畫此石(shi)(shi)(shi)，“丑(chou)(chou)石(shi)(shi)(shi)也，丑(chou)(chou)而雄，雄而秀”。“這(zhe)種美(mei)學思想在劉熙載(zai)《藝概》中得到(dao)(dao)了淋(lin)漓盡致(zhi)的(de)發揮：“怪(guai)石(shi)(shi)(shi)以丑(chou)(chou)為美(mei)，丑(chou)(chou)到(dao)(dao)極處便是美(mei)到(dao)(dao)極處。一(yi)“丑(chou)(chou)”字(zi)，丘(qiu)壑(he)未易盡言：這(zhe)是一(yi)種高層次(ci)對美(mei)的(de)欣(xin)賞(shang)和追(zhui)尋。
巨型(xing)鵝(e)卵(luan)石(shi)的(de)運用 以石(shi)造景在我國園(yuan)林中，有著(zhu)悠久的(de)歷史及多變的(de)設(she)計(ji)(ji)手(shou)法(fa)。明末著(zhu)名(ming)造園(yuan)學家計(ji)(ji)成(cheng)在《園(yuan)冶》中對石(shi)就(jiu)有深刻(ke)的(de)見(jian)解：“取巧不但(dan)玲瓏，只(zhi)宜單(dan)點；求堅(jian)還從古拙(zhuo)，堪用層堆。須先選質無紋(wen)，俟后依皴合掇；多文恐損，無窮(qiong)當(dang)懸。
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