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"The Road to Spring" Chen Yongjun
Composition, also known as chapter method and layout, is an important part of the creation of landscape painting. The success of composition is related to the quality of landscape painting. The composition must be combined with the intention of the picture, that is, it must be coordinated with the content of the picture.
Composition should use the law of the unity of opposites, and should reflect the relationship between guest and subject, far and near, virtual and real, sparse and dense, gathering and dispersing, opening and closing, hiding and exposing, black and white, large and small, and so on. Opposition is changing, unity is equilibrium. Only by putting these opposing systems in the picture can it be called a good composition.
"Taihang Meditation is Like Listening to the Sound of the Waves" Chen Yongjun
1. Scattered perspective method
Chinese landscape paintings mostly use the "scattered perspective method" that is not limited by space and line of sight. Scatter perspective is also known as "moving point perspective". When using "scattered perspective", the painter can observe the scenery without fixing it in a certain position, and the viewpoint can change up and down, left and right, far and near at any time, so landscape painting, especially long-scroll vertical axis landscape painting, can perfectly combine the upward view, the overhead view, the head-up view, the distant view, and the close-up view, showing the vast realm of "thousands of miles at hand".
2. Three-way method
Guo Xi of the Song Dynasty wrote in "Lin Quan Gao Zhi": "The mountain has three distances, from the bottom of the mountain to the top of the mountain, it is said to be high and far; from the front of the mountain to the back of the mountain, it is said to be far-reaching; from the near mountain to the distant mountain, it is said to be flat and far." "The 'three-far method' is the perspective that the painter takes when creating." "High" is to look up, "far-reaching" is to look down, and "flat and far" is to look up. "High and far" can see the mountains, and hirano does not need to look up; "far-reaching" is to look down from a high place, which can show the continuous mountains; "Pingyuan" can show the hills of the plains or not high, and cannot express the mountains.
Pingyuan: After looking at the mountain from the front of the mountain, looking at the distant mountain from the near mountain, it belongs to the top view. (See Figure 1 above)
Far-reaching: looking down from the mountain, from the front mountain to the back mountain, similar to the "zigzag" or "S" shape composition in the composition of Western paintings, which belongs to the overlook. (See Figure 2 above)
Wang Meng, "Summer Mountain High Hidden Map"
Wang Meng's "Xiashan Gao Hidden Map" adopts a far-reaching method of composition, with a general view throughout the entire picture. The composition of this work is dense, there is virtual in reality, there is reality in virtual, and it is dense and properly dispersed.
Gao Yuan: Looking at the mountain from the bottom of the mountain, similar to the pyramid-style and monumental composition of Western paintings, it belongs to the upward view. (See Figure 3 above)
Zhu Duan《 "Distant View of the Yanjiang River"
Zhu Duan's "Distant View of the Yanjiang River" adopts the high-distance perspective method. The tree stone on the left echoes the mountain stone on the right. The mountain stone on the left is more realistic and meticulously depicted; the distant mountains and clouds in the back are extremely virtual, reflecting the contrast between real and virtual.
How to arrange the combination of trees, mountains and stones, clouds and water, cars and boats, people, buildings, animals and other objects in the picture, both reasonable and harmonious, which involves the composition form of landscape painting. The composition form of landscape painting generally follows the following rules:
1. Guests and hosts
The ancients said that "the guest and the host are in the dynasty", which is reflected in painting is to deal with the primary and secondary relationship of the picture. Whether the subject is large or small, it must occupy a prominent position in the picture.
The main object should not be arranged in the center of the picture, which is too dull; it should not be arranged too biased, so that it is not eye-catching. Generally speaking, painting should first draw the main body, and then draw the secondary object, that is, the object. The object plays a foil role in the picture, so it is necessary to consciously weaken its status and not to dominate the guest. When processing the picture, it is necessary to draw the main body, but also not too monotonous. There should be a "main" point in the painting, that is, the "eye" in the painting, such as houses, figures, etc. The "main" point in the painting, although small in size, can point to the subject.
"Red Rock" Qian Songxuan
Qian Songyao's "Red Rock" pays attention to the contrast between the subject and the object. The main body in the painting is a house on a mountain, and the object is a mountain. The house is small but more specifically portrayed and the location stands out. Although the mountain occupies a large area, it does not give people a sense of dominance.
2. Echo
In a painting, whether it is a mountain stone, a forest, or a house or a figure, it should echo and look forward to each other. The mountain peaks should have the intention of the guests and the hosts, the trees should have a posture of tilting each other, the smoke clouds should have a flowing and roundabout trend, and the characters, animals and other scenery should also have a certain echo relationship. The echoes of the picture also include the relationship between big and small, light and heavy, black and white. In short, the various objects on the screen should be interdependent and influence each other.
Chen Zizhuang 《Emei Daoshang》
Chen Zizhuang's "On the Road to Emei" adopts an echoing style. In this painting, the mountain on the right side of the front rises upwards, forming an echo relationship with the mountain behind; the figure in front also echoes the ink dots on the distant mountain (representing tourists).
3. Near and far
Chen Yongjun "Spring in Taoyuan"
In Chinese painting, objects are generally expressed as near large and far small, near real and far virtual, near heavy and far light, of course, there are also near small and far large. If the main scene is large and far away, it is necessary to use the thickness and virtual reality of the ink color to deal with the spatial relationship of the picture. A painting generally has three levels: near, medium and far. Even if a painting does not have three levels, then at least there must be two levels: near, far, or medium and far.
4. Virtual reality
The virtual is vague, the real is clear and unambiguous, and the two are relative. The objects in the painting are too real, which will lead to the blank and lifeless picture, and if it is too virtual, it will appear empty and empty, so it is necessary to have reality in the virtual and the virtual in the virtual. If it is too real, it should be broken by falsehood, and if it is too virtual, it should be broken by reality. Generally speaking, in landscape painting, there is form and reality, and the invisible is virtual; black is real, and white is virtual. The relationship between virtual and real in landscape painting is often reflected in objects such as flowing water, clouds, and smoke, or is handled by the thickness, dryness, wetness, and density of brush and ink.
Li Xiongcai, "Sail Out of the Gorge"
In Li Xiongcai's "Sail Out of the Gorge Map", the mountains are real, the rivers and clouds are virtual, the ink is near and far, the virtual reality is born, and the layers are clear.
5. Dense
The method of mountain stones pays attention to density, the interspersing of trees pays attention to density, and the layout of the whole painting also pays attention to density. A painting must first have a large dense change, and then there must be a small dense change in the big dense, so it is necessary to achieve "dense in the dense, dense in the sparse". In the picture, it is extremely important to express the beauty of form in a way that combines denseness and gathering and dispersion. Denseness and dispersion reflect a tight relationship, but dispersion contains a dynamic. Fine things such as one tree and one tree, one grass and one leaf should pay attention to density.
Vintage works
The ancients said: "Loose can go, tight and airtight." "Loose can go" does not mean not to paint any scenery, but also to paint the scene; "airtight" does not mean that the objects in the picture are full, so that people feel suffocated, but to leave a gap, to achieve "sparse scenery, secret place has rhyme."
6. Opening and closing
Opening and closing is a common compositional rule in landscape painting. Opening refers to spreading out the various scenes in the painting, and closing refers to the convergence of the posture of the picture. The composition of a painting must have both a large opening and closing of the whole and a small opening and closing of the part. The common opening and closing styles in landscape painting are near and medium scene opening, long-range combination, near and far view opening, medium scene combination, and far and medium scenery opening, close scene combination and so on.
Lu Yushao, "Autumn Tao Map of the Gorge River"
"Autumn Tao Diagram of the Gorge River" adopts a typical opening and closing composition method. In this painting, the near and middle scenes are open, and the distant scenes are combined.
7. Hidden dew
Properly handling the hidden relationship of the picture can make the picture more subtle. If you explain it clearly everywhere, there is no fun to speak of. The scenery painting must be hidden and exposed, in order to trigger people's reverie. "Hiding" is handled well, and the effect of "there is a scene without a view" can be achieved.
Qian Songtao, "The Camel Bell of Gusai"
In "The Camel Bell of Gusai", the Great Wall winds, the city wall in the distance is faintly visible, and a line of camels at the foot of the mountain comes, and the camel caravan in the middle is blocked by a mountain, and the hidden dew is handled very well.
8. Equilibrium
Chinese painting avoids the equivalent composition of "four flat and eight stable", and mostly uses "scale hammer pressing thousand pounds" to achieve the balance of the picture. Pan Tianshou said: "The materials are arranged on the canvas, and they must be balanced, but they must pay attention to the flexible balance. Flexible balance must first seek its imbalance, and then seek its balance. It can be seen that landscape painting pursues a balanced beauty. Symmetry in pattern design can give people a sense of beauty, while landscape paintings will feel monotonous if symmetry is used, and of course, it is not beautiful.
In the picture, the painter adds some distant mountains above the flowing water, so that the picture achieves a balanced and harmonious beauty.
9. Black and white
Black and white generally refers to the relationship between the weight of the ink color in the picture, the thick ink is heavy, and the light ink is light. The black and white of the upper and lower left and right of the picture should be balanced, not left black and right white, nor black and white. If the mountain on the left side of the picture is painted in heavy ink, then the river on the right can be represented by blank space. In landscape painting, usually black is real and white is virtual. In some cases, white can also be real. Painting water often adopts the method of "counting white as black".
In the picture, the painter pays great attention to the relationship between black, white and gray in the picture. The black slopes, the gray far shores and the pale colors of the sky, the moon, and the river combine to form this beautiful picture.
10. Size
When arranging the picture, the scenery should have changes in size and fragmentation, which can not only avoid uniformity, but also make the subject prominent. In the painting, it is generally the main guest and the small guest, and sometimes the main guest can also be the small guest. However, the main body must be obvious, the pen and ink should be solid, and the color should be bright.
Tong Zhongtao 《翠幄》
In "Cui Shuai", at first glance at the picture, dense, a cloud of emerald green, and then carefully taste, you will find the subtleties in it, trees and stones, pavilions and pavilions are of different sizes, staggered, the picture is broken, broken in the whole, full of changes.
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