On the composition rules of Chinese painting

Chinese painting composition rules are as follows:

1, both sides echoed. There is a subject and a companion in a painting, and there should be an echo relationship between the subject and the companion. Qi Baishi's "Song Yingtu", the eagle is the main, and the pine is the guest. The two are related in form and content. Landscape painting can be divided into main mountain and guest mountain. There should be a connection between subject and object, and there should be an echo. In flower-and-bird painting, several kinds of flowers should be clearly distinguished between subject and object, and there should be a connection between flowers and leaves.

2, the virtual and the real are born. "Reality" means that there is pen and ink or a lot of pen and ink, and "emptiness" means that there is no pen and ink or a little pen and ink. Virtual reality is relative, for example, a cluster of trees nearby is "real" and the distant mountains behind are "virtual". If the "real" scenery is rich, heavy, moist, rich and complex, then "virtual" is light, light, dry, less and simple. The ancients said that "the real place is easy, but the virtual place is difficult", and the virtual place is more difficult to deal with than the real place.

3. Open and close the knot. Painting is like composition, paying attention to opening and closing. Opening is expansion. Close is close. The beginning is the beginning, and the end is the end. A picture unfolds from one side and closes from the other. With the connection, the painting is relatively complete, and the pulse connection.

4, vertical and horizontal. In a painting, the vertical potential is mostly transverse, and the horizontal potential is mostly vertical. Vertical or horizontal, we must have a focus. Usually, the S-shaped, cross-shaped, zigzag, diagonal and parallel lines are vertical and horizontal variations.

5. Dense and scattered. The ancients said that "impenetrable, easy to muddle through", emphasizing that painting should be properly dense. In landscape painting, the distribution of trees and stones, the points of leaves and moss, and the points of flowers and birds should all be dense.

6. Odd positive balance. Strange, is novel (the ancients called it dangerous), is smooth. A plane painting is the main theme, and the freshness is change. The combination of the two is not smooth. Equilibrium is balanced but uneven, peaceful but uneven. To handle the relationship between curiosity and correctness, we must grasp a degree.

Some people have summed up the five-character composition of "Zhi" (pushing the left to make way for the right), "You" (attaching importance to the lower part), "A" (attaching importance to the lower part), "Ze" (the left is real and the right is empty) and "Xu" (the left is empty and the right is real). The picture is uneven, and balance can be achieved through inscriptions.

7. Know white and keep black. There are many blank spaces in Chinese painting, which should be carefully arranged like pen and ink. The shape should not be regular triangle, square, circle or diamond, but irregular equilateral triangles of various sizes are preferred. This is the law summarized by Mr. Huang. The branches of the tree should be interspersed into a "female" shape, and geometric shapes such as regular triangle, trapezoid, square and rectangle cannot appear. Where there is pen and ink, there is painting; where there is no pen and ink, there is painting.

8, the whole person is broken, and the broken person is broken. Some trivial things are easy to draw bits and pieces, and some flat things are easy to draw flat, so we should use this principle to break them. If the bamboo leaves are too broken, draw them in groups, if the bananas are too full, draw them into pieces. If the tree is too broken, it will be dyed into a large piece. The stone wall is too whole, so it is divided into several large pieces to deal with. Mastering these composition principles, we can achieve "one method for multiple purposes".