The particularity of photographic composition is not completed at one time, but divided into two steps; One is to choose the angle to shoot, and the other is to cut the photo. This special reason for photographic composition is caused by the limitations of cameras. Although there are various types of cameras, there are only two kinds of composition methods, one is rectangular and the other is square. For framing, the rectangular composition is superior and easy to handle, while the picture taken by the square composition does not distinguish between vertical and horizontal, so it is impossible to take a picture with horizontal or vertical composition without cropping. It is a camera with rectangular composition. Due to the restriction of environmental conditions when shooting, it is inevitable that unnecessary objects will be taken into the lens during composition, which will affect the beauty of the picture. To get rid of these things, it is also necessary to cut the photos. Everything is established in advance, and it is abolished if it is not foreseen. Knowing the particularity of photographic composition, we can turn passive into active. Before pressing the shutter, we should determine the composition, whether to shoot the vertical picture or the horizontal picture, so as to know fairly well. In this way, you can focus on the theme to be expressed when shooting. If you think that you are a little dissatisfied with the composition after the photo is taken, you can make the picture more satisfactory by cutting, but you still need to practice and shoot more before you take it, so that you will have a certain foundation in your mind. No matter what you do, you can practice and make perfect. Understanding the principle of composition does not mean that you can shoot excellent photographic works. After mastering composition, it is not accomplished overnight, but you need to practice hard to be handy. No matter how you practice, as long as you persist and practice for a long time, you will leave all kinds of compositions in your mind. When you shoot on the spot, the corresponding composition will automatically jump out for you to choose, which is the result of more practice. Besides doing more exercises by yourself, you should also read more other people's works, especially excellent ones. Whether it is painting or photography, it is a direct reference to watch other people's composition, ponder other people's composition ideas, and watch movies, TV, MTV, etc.
as the ancients said, if you don't follow the rules, you can't be Fiona Fang. The basic principle of composition is rules, that is, balance and symmetry, contrast and viewpoint. However, due to the different artistic accomplishment of photographers and different angles of observing things, the works created are also different. The objective laws cannot be violated, but those who know the laws will not be bound by them. Lin Sanzhi, a calligrapher, once said: It's valuable to know the truth when you keep the ink, and you can understand the truth of Jane. We should seek the impossible from the law, and prove the ancients to today. What I'm talking about here is that we should not stick to the rules, be innovative, not be bound by rules and regulations, break the constraints, and publicize the artistic style of photography creation. Only in this way can we express ourselves with different styles and different tensions, and express artistic style, so as to truly achieve "shine on you is better than blue".
China's composition, painting and writing should be organized and laid out. In painting, the so-called composition and layout are what we call composition.
Sheikh's "six laws" refer to business position, which is also composition. Why not say it's a distribution location but a business location? This shows that painting is a matter of thinking and how to arrange the picture. Painting has a theme, which is conveyed to the audience through the picture, so that the audience can accept your ideas and beauty. From conception to picture, the first hurdle is composition. Xie Zhaozhe in the Ming Dynasty said,' The story of the city is structured. Li Rihua, another contemporary painter, said: Most painting methods take the arrangement of images as the first. It can be seen that it is not all right to get a good theme, and then it is necessary to study where the main part is placed, how the secondary part is properly matched, and even the details such as blank space, momentum, color, inscription, etc. must be repeatedly scrutinized, and it is better not to draw it, but it must be taken into account that this process of scrutiny and layout is a kind of management.
painters often can't achieve ideal composition through one or two sketches, especially the composition of Chinese paintings. We should consider the characteristics of national forms, facilitate the use of pen and ink, facilitate the development of objects, and require multiple changes and layers, and also require unity. These characteristics are described in the following paragraphs. Sanyuan
Guo Xi in the Northern Song Dynasty put forward that there are three distances in the mountain, and it is called lofty from the bottom to the top. Looking at the mountain from the front is far-reaching; Looking at the distant mountain from the near mountain is called Pingyuan. Now it is divided into the following parts:
Gao Yuan
In the landscape part of The Biography of Mustard Seed Garden, a general problem in composition is summarized, that is, the three-dimensional method of lofty, far-reaching and far-reaching, which is actually a method of expressing the three-dimensional space of the landscape.
The lofty mentioned in the Biography of Mustard Seed Garden is only when we look up from below that we feel lofty. Today, we apply the perspective view, that is, putting objects on the visual trunk line makes them stand upright. In this book, it is suggested that spring water should be used to help it achieve high momentum, such as painting the Longji Waterfall on Yandang Mountain, that is, it should have high momentum. However, the book's use of springs to help the heights can't make the problem very clear, because no matter how high you draw the mountains and how long the springs are drawn, they are still not as high as one thousandth of the real mountains. How to draw a mountain as high as a thousand feet within the scale? Liu Wei pointed out to Zong Bing in the preface to the calendar of mountains and rivers that as long as there is a considerable distance between the eyes and the mountains, it is enough to draw them in proportion. "If you draw three inches, you will feel a thousand miles away" and "A few feet in the cabin can reflect a hundred miles away". For example, in order to exaggerate the high mountains, people, houses and trees can be painted very small, such as Fan Kuan's Travel Map of Xishan Mountain and Shen Zhou's High Map of Lushan Mountain. Sometimes, the peak can be pushed out of the painting or hidden into the clouds, making people feel as high as Fuchiyama.
If you paint a high situation, you can make the lower part empty. For example, if you paint a mountain with clouds to break the foot of the mountain, you will feel lofty, that is, Guo Xi said that if the mountain wants to be high, it will not be high if it is exhausted, and it will be high if the smoke locks its waist. On the other hand, a picturesque would be far away, which can make the above empty, and will also create a trend of would be Wan Li.
Profound
Drawing a profound feeling from the front to the inside is called profound. The depth of the painting is great, which creates an artistic conception with far-reaching space. It is far-reaching to explain the strengthening of clouds and qi in the Biography of Mustard Seed Garden, which was also discussed by Guo Xi in Lin Quan Gao Zhi in the Song Dynasty, but it is not far away for water to hike out. It's far to hide and break its pulse. This processing method can be used in the representation of clouds crossing Qinling Mountains and gas breaking Wuxia Gorge. Experienced landscape painters find it most difficult to embody the profound among the three distances. In the Yuan Dynasty, Wang Meng's "Forest House with Area", surrounded by mountains on all sides, put deep valleys in layers, and compared houses with persimmons, which painted a sense of depth with great difficulty.
Pingyuan
Pingyuan scenery should draw a vast space. Generally speaking, there are two kinds of Pingyuan painting methods: one is Pingyuan landscape of short mountains and hills; One is the plain land with only pastoral rivers. For the former painting, Biography of Mustard Garden emphasizes the use of smoke to enhance the sense of flatness. With smoke, it feels vast. In fact, this is applicable no matter how high or low it is. Huang Gongwang's Fuchun Shan Jutu and Nizan's Zizhi Mountain House Map belong to Pingyuan landscape type. We can also use some similar techniques to describe the vast landforms of plain scenery, but we should mainly use the perspective of scenery, such as the perspective of forest belts and ridges, and the vertical and horizontal rivers will enhance the leveling effect. Ma Pingchuan's Ojihara is a difficult painting problem in traditional Chinese painting. Modern painters use rice fields to set off white sails, and also use trees and houses to push them away.
Since Guo Xi put forward the Three-Distance Method, Han Zhuo and his descendants, Huang Gongwang, Wang Zong and Fei Hanyuan, who had traveled to Japan, all had different developments.
Guo Xi also mentioned three kinds of tonal feelings in Sanyuan, that is, the lofty is different, the far-reaching color is heavy and dull, and the far-reaching color is bright and mineral. He analyzed that the lofty trend is abrupt, the far-reaching meaning overlaps, and the far-reaching meaning melts and is ethereal. It seems that the author made an in-depth observation. When we face the mountain from the bottom to the top, we must feel that the mountains are clear and the peaks stand proudly. If you look down at the mountain from the front of the mountain, the mountains will inevitably overlap and overlap. If you look far from the mountain, you will feel that the distant mountain has a vague feeling in the air layer because of the long distance. All of these are caused by the gap between the painter and the scene in the direction of the line of sight and the size of the field when taking pictures.
The debate on opening and closing makes the composition of
ever-changing, which is really not clear in a few words. But we can't think that composition is mysterious and unpredictable. In this respect, the ancients also accumulated a lot of experience, among which the most commonly used term for Chinese painters is the method of opening and closing for concessions.
In the Qing Dynasty, Zheng Ji put forward in On Scenery that when the scenery starts straight and flat, the middle picture is the opening situation. This means that after the layout is started, we must pay attention to the opening situation. After the opening, Zheng Ji thinks that there must be points and combinations. Of course, the layout of one picture is the same as the application of one stroke. Shen Zongchun compares this to chess, in which the national players do not compete with each other, and each does not give way ... There is little dispute between the two sides, but much has been lost in the overall situation. In the layout of traditional Chinese painting, it is necessary to avoid such small opening and closing and small competition.
From Gao Kegong's "The Picture of a Cloud with a Beautiful Ridge", we can see the wonderful opening and closing of it. The giant peak stands out in the middle, and the peaks are clustered together, which is a combination; The clouds in the middle of the hill and the water in the lower part are open; There are Woods and stone slopes on the left and right, which is a struggle; There are high and low, stretching and shrinking water dumplings, which is to let. This composition is quite like a famous hand who is good at writing articles. Seeing the ups and downs of his works and the endless changes in the weather, we can also see that the author has a gully in his chest and a clever arrangement of smoke clouds in his works.
Sparse horses can keep the wind tight.
Deng Shiru, a famous calligrapher and seal engraver in Qing Dynasty, quoted the famous saying of the predecessors in the development of calligraphy and painting that the sparse parts of calligraphy and painting can be traced, but the dense parts can not keep the wind tight. Chinese painters often use these two sentences to emphasize the contrast between density and reality, in order to oppose equal treatment and listing of phenomena. Sparse, refers to the empty place where you can run away and gallop, of course, it is quite space; Dense, refers to a dense place, even the wind can't penetrate, of course, it is very real.
we can illustrate it from the picture of a pavilion on a river sail, which was handed down by Li Sixun in the Tang Dynasty. He concentrated all the real things such as mountain trees and figures on the left, and painted houses in the gaps between trees, which can be described as airtight, while there was a sea on the right, dotted with a sail or two, making it boundless. If you ask, is it necessary to increase the gap between density? Yes, the so-called blank space is not nothing to say, and there is no artistic meaning to be found. It is precisely to set off the empty image of Mi 'an, so that it can be more victorious with less, just like a pause in music, which makes people have more room for tears. It is told even more in silence than they had told in sound.
it is reasonable to be good at seeing the truth from the virtual. It has been suggested by predecessors that the essence of reality is mostly due to the virtual place. The dense part should be more concentrated and accurately portrayed in the composition, so that the ink, color and line can give full play to the effect. By contrast, the white part is whiter, the dense part is denser and more prominent, and the audience is more strongly impressed, thus giving play to the specialty of plastic arts. Imagination and reality are inseparable, which are two aspects of composition method. It is inappropriate to emphasize either aspect in isolation.
Dense density, gather and disperse
is similar to the meaning in the previous section, and this change can sometimes be described by the words sparse, dense, gather and disperse. Denseness and gathering are the real points in the picture, while sparseness and dispersion refer to the imaginary points in the painting. Just as sparseness can be used for horse racing, density is not ventilated, and viewers can see a great sense of rhythm in the picture. But emptiness is not a simple blank, but there are also images in No.3 Middle School. Let's try to see the flowers and paintings of Badashan people, and often only draw a flower and a bird. It is so simple that a large area of blank space is left on the paper, and the whole picture is empty, allowing readers to exert their imagination, which can be imagined as the sky, white clouds and water waves, resulting in great room for spin. However, only the blank can't be painted, so there must be some secrets to explain the problem. The most taboo is to arrange the willows evenly. For example, three groups of willow trees in Tianchun, Wu Lipeng are invited to gather and disperse, and their slopes are arranged according to an S-line, and the middle and distant mountains of the painting are spread as far as possible in order to relax and disperse, which will arouse the viewer's feeling of mountains and rivers, and also show us how to deal with the method of gathering and dispersing.
Counting white as black
This sentence is also from Deng Shiru, a calligrapher in the Qing Dynasty. Counting white as black is a strange and interesting thing, because this rule can make sense of painting, and Chinese painters have transferred his theory to painting. Similar to this, Karin in the Qing Dynasty said in his review of the painting "The Secret of Nanzong": It is especially prudent to leave blank spaces in the whole painting.
Chinese painting emphasizes the use of blank, and is very careful about blank management. It is equally painstaking to consider it as a painting part. Why leave some blanks? This is like the subtext of characters in plays and movies. If you say everything without leaving any subtext, it is called a straightforward narrative. There is a space on the screen, and we will feel the painter's thoughts galloping in this space, which is a common technique in Mi's Yunshan paintings. A white cloud is across the mountainside, and the mountain lives with the cloud. However, Deng Shiru's profound meaning is not limited to this. He asked that the white without strokes should be taken seriously as the black with strokes, and managed carefully, so that the white also has content and painting, instead of a blank piece of paper that has not been painted. It is necessary to consider the measures and responses of white and black, such as drawing a long bridge with horizontal waves, the bridge body is black and the water is white. How to arrange the bridge body is very important. When you talk about the position, you can feel the flowing water under the bridge and cause the association with water. Similar to this blank, it is not dispensable or speechless. This is the implication, which is interesting and meaningful. The essence of art lies in implication, and blank is also one of various implicit techniques.
The layout method is like a pythagorean
Zou Yi, a painter in Qing Dynasty, put forward a composition principle of traditional Chinese painting in his "Painting the Hill", which makes the layout of the picture as a triangle pythagorean. Twisted triangles can also be straight triangles and oblique triangles. The three lines of Pythagorean are called Gougu, Gu and Xian respectively.
Western painting masters in Europe, such as Hermontarian, like to use square format for composition, while China painters like to use triangle composition principle, which may be more in line with the ideographic nature of Chinese painting, and facilitate the expression of the psychological factors of landscape flower-and-bird composition, such as "the top is light and the bottom is heavy, the top is small and the bottom is big, and the gravity is downward". Avoid hitting the board. This is on the whole, of course, composition is infinitely rich, so it is difficult to make a single theory, and it should not be bound by the originality of every painter.
As mentioned earlier, Chinese painting composition should also use a broken character. For a square, a triangle is a square with a balanced gap. Even the triangle itself can also use broken characters, such as the big question and small method of painting stones. A big stone and a few small stones will break a string of the triangle. The legend shown by Pan Tianshou is the method of mutual breaking of triangles.
Positive and partial, rigid and flexible, homogeneous and uneven, balanced and unbalanced, symmetrical and asymmetrical are all the laws of unity of opposites in artistic expression. We should always pay attention to its dialectical relationship when composing a composition, and start from the theme and find the main way of composition from the main ideas.
Tibetan scenery reveals the scenery
Chinese painting composition has both hidden and exposed, and it can't be completely hidden or exposed, so that there can be paintings outside the painting and it won't be unobstructed. However, what should be hidden and what should be revealed depends on the theme and then decide. Generally speaking, the main characters should be exposed, the minor characters should be hidden, the main plot should be exposed and the minor plot should be hidden.
The hidden scenery is for the implication of the picture. In Song Dynasty, Shi Liang finished the "Map of Stewarding Staff at Xiqiao", in which the figures of the staff were exposed and the pavilions were hidden, so as to show the secluded pavilion in a bamboo forest where the hermit went. Painting canvas sails of ships, wine curtains of restaurants, spires of tall towers of big cities, and the rest of them are hidden in green trees, which is more picturesque than all of them. The so-called words are endless, and Chinese painters know the fun best.
But you can't hide all the hidden scenery. Bai Juyi still holds the pipa in Song of Eternal Sorrow.