在构图上,乔亚丁更喜欢饱满、丰富。密密的枝中、枝下,还时有飞禽、人物参与其中。密不透风,疏可走马,他不是不深谙此道。直到现在,他还记得当年在学校里逆光作黑影画,随着阳光移动,桌面与桌腿慢慢变化,黑与白、实与虚、大与小,空间怎样在密与疏之间转化。当然,密与疏是对应的,整体的繁密印象,并不意味他的画缺少疏勒之处。近代花鸟画大师吴昌硕、齐白石常作折枝画,空灵幽远,画家却谦虚地认为,他们的诗书画印相得益彰,现在很少有人能达到那个高度,于是他就避开弱点,用枝叶去填充。 In composition, Qiao Yading prefer full, rich. Dense branches, branches, but also when birds, figures involved. Airtight, Shuzhangzouma, he is not unfamiliar with this. Until now, he still remembered the backlight in the school as a black shadow. As the sun shone, the desktop and legs slowly changed, black and white, real and imaginary, big and small, and space transformed between dense and sparse . Of course, the secret and the sparse are the corresponding, the overall impression of the dense, does not mean that his paintings lack of Shule place. Modern masters of flowers and birds Wu Changshuo, Qi Baishi often make twigs, ethereal fantasy, painter humbly believe that their poetry and calligraphy printed complement each other, and now few people can reach that height, so he avoided weaknesses, with leaves to fill.