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Composition is called "chapter law" or business position. Composition is governed by the picture effect, content, and the author's intentions, and is generally produced under painstaking management and repeated deliberation. The author's creative intention needs to be expressed through the shaping of the artistic image, and it must also be painted on the picture and properly arranged in position to achieve the desired purpose. We call this creative process composition.
In order to achieve a meaningful and poetic artistic effect in the creation of freehand flower and bird paintings, it is necessary to skillfully use the laws of opposition and unity in composition, such as the rules of formal beauty such as guest and host, echo, thickness, vertical and horizontal, virtual reality, hidden dew, black and white, sparse, complex and simple, dynamic and static, correct, opening and closing, and retracting.
Guest and host: A painting must first determine the main object of expression, with the main body as the focus, the object as the auxiliary, the subject must be clear, and the object can only be used as a foil. If the host and guest are not clear, the picture will be chaotic.
Echo: The objects on the screen should have echoes, and without echoing the picture, they will appear isolated and tasteless.
Vertical and horizontal: The picture and image must have a vertical and horizontal relationship, and the picture is vivid when the vertical and horizontal are appropriate. Vertical and horizontal are relative, generally avoiding right-angle intersections.
Dense: The picture can be sparse, tight and airtight, to show dense, to dense lining.
Black and white: The contrast between black and white in the picture should be clear, with black to support white, to show black with white, to know white to keep black, to count white as black.
Virtual reality: the picture should not only pay attention to the real place, but also the virtual place should be handled properly, the virtual reality is born, and no painting place is a wonderful situation.
Hidden dew: the exposed one hides, the manifestation hides, and the pipa is half covered, and the deeper the scene is, the deeper the Tibetan realm.
General trend and branches
The general trend is the trend of the general position arrangement of the object on the picture, that is, the overall situation, or "taking the momentum". Taking the position is extremely important in the composition of flower and bird paintings, if the posture is not taken properly, no matter how it is depicted, it will destroy the overall momentum of the picture and the expression of the theme idea. Therefore, in the layout, the general trend is the first thing to consider. In the picture with the flower branch as the main body, the branch is extremely closely related to determining the general trend. The main branches are established, the main body is placed, and the general trend will follow.
Branching, which can be summarized, can be divided into three forms, namely the insertion type, the sagging type and the horizontal leaning type. Combining these three forms produces a kaleidoscopic compositional form. Taking the branch is extremely important in the composition of flower and bird paintings, and whether it is appropriate or not is the key to success. There are many branches, but not all branches can obtain the beauty of composition. For example, branches from the middle of the four sides of the paper are too centered, difficult to take the momentum and are not beautiful; if the branches are diagonally oriented in the four corners of the paper, it is too biased, unbalanced, and unstable. These parts generally avoid branches.
In long-term practice, predecessors have summed up the best part of the branch with three or seven stops, which is not centered and loses change, and does not deviate too much and loses balance, and there is a feeling of both change and stability. Beginner layout, more from the three, seven stops out of the branch, should seek stability, skilled and then seek strange risks, and gradually master the art of seeking curiosity in theory.
Virtual and real
Chinese painting pays great attention to the relationship between virtual and real, and the thickness of virtual and real plays a very important role in expressing the spatial level of objects and the relationship between guest and host. The ink color of the near scene is thick and solid, and the ink color of the distant scene is light and virtual. The picture is virtual and real, real and virtual, just like the rhythm of music. Freehand painting is not like the repeated polishing and adjustment of the brush, usually with one stroke and one stroke. Therefore, in freehand paintings of flowers and birds, the virtual-real relationship between the subject and the object should be well grasped, the reality is real, the virtual is virtual, the virtual is real, and the virtual reality is born, thus creating a rich layered picture.
Subjects and objects
A painting, no matter how big or small, has a prominent focus, and the object in this key part is the subject. In the picture with flowers as the theme, if there are several flower heads, of which several flower heads are the main body, other flower heads and flowers and leaves are the objects; in the picture focusing on birds, birds are the main body, and other scenery is the object. The main object is the most wonderful part of the picture and should be placed in a place that attracts attention.
Under normal circumstances, it is more appropriate to place the subject in a slightly lower, upper or slightly left or right position in the center of the frame, and the specific arrangement should be determined according to the needs of the subject matter. Flower and bird painting is different from figure painting, the main body is generally not placed in the middle of the picture, too centered to appear dull, and lack of change, but also should not be too biased to one side or corner, too biased will lose balance.
Cloth white
Cloth white is the blank space that arranges the picture. The layout of traditional pictures always leaves a certain blank space. What is empty is the void of the picture, which is also an integral part of the picture, not the empty white paper. Blankness plays an equally important role in some aspects as the object, and for this, it is necessary to take it seriously in the layout. Blank space is not imaginary, it is associated through the prompts of other objects, although it is not a single ink color, but it contains a lot of content: or heaven, earth, water, or smoke, clouds, fog. Therefore, the blank space is a painting in the painting, and there is also a painting outside the painting. Some works paint fish without painting water, but it associates water through the dynamics of fish swimming in the water, and does not make people feel that the fish is in the air.
Opening and closing and echoing
The "opening and closing" in the composition is also called "splitting". Regardless of the size of the frame, it generally includes two parts: "open" and "closed". The position of opening and closing on the screen is flexible and changeable, and some are opened and closed or closed down. In the composition of flower and bird paintings, what kind of opening and closing form is used, and the position of the branches should be arranged according to the needs of the subject matter and the orientation of the branches. The opening and closing relationship is generated by the visible image of the work, and the echo is a psychological effect produced by the opening and closing. For example, the emotional connection between flowers and flowers, birds and birds in the work. Therefore, handling the opening and closing and echoing relationships in the work can make the scene of the work blend and vivid and touching.
The circle is missing a jagged
A work, whether it is the overall layout of the picture or the specific image of the object, should have circles and defects, and there should be jagged changes. In the flower head, the combination of petals is too neat and too regular, and there will be a lack of dense changes. When drawing, it must be processed to make the shape of the petals change in a jagged shape, but this gap is not a missing petal, but a gap of different sizes and shades formed by the dense combination of the petals due to the change of the turn when combined, in order to break its mechanical shape. The size and number of gaps should be moderate, otherwise there will be a feeling of ruin and withering.
Curved and straight, thick and thin
The flowers and branches in nature are thick and thin, curved and straight, and some are just soft; the flower heads of flowers are large and small, and the flowers and leaves are wide and narrow, and there are long and short. These different forms of nature constitute the beauty of nature. But this beauty is not artistic beauty, it is an irregular combination of nature, and it cannot be directly put on the picture. The layout of the picture requires the author to arrange the relationship between the thickness and thinness, curve and straightness of the painted object according to the needs of the theme and according to his own interests, so that the shape is changeable and harmonious, so that the picture produces the beauty of the rhythm of thickness and straightness.
If there are two branches into the painting, it should be one thick and one thin, one curve is always, one long and one short is more appropriate; if multiple branches enter the painting, there should be thickness and thinness, curves and straights, thickness and thinness, curves and straights, or thick before and after, or with fine breaks thick, or with curves and straights, etc., with a variety of variations. The flower heads of the picture should also be large and small, if two flower heads are included in the painting, it should be one large and one small, and the small ones are mostly buds or flowers that will bloom but have not yet bloomed. The thickness and curvature of the layout should start from the overall situation. Thickness and thinness, curved and straight are relative. Any opposing side should not exaggerate, and the size of the curve should be varied and coordinated on the picture.
Sparse and dense
The layout should be sparse and dense, gathered and scattered, tight and loose. Predecessors used "loose horses, tight and airtight" to describe the relationship between dense and scattered. The two are relative, so the two should not be too different. If the secret place is too dense, it will appear crowded and stuffy; the sparse place should not be loose, and the sparse place should also be properly dense. Deal with the antagonistic relationship between sparse and dense, gathering and dispersing.
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