任何一幅画都有构图,但完美的构图却不多见。关于构图的论文已经很多,这个题目也已经是个老生常谈。但有些文章往往涉及到许多其他问题,如格利高利耶夫(苏)的《论绘画的构图》,在色彩问题上化了很多篇幅,真正与构图有关部分则缺乏条理与逻辑。有些文章又失之牵强,晦涩。如大卫·弗兰德(美)的《如何分析画》一文,作者以“学究”式的态度,从一幅画中寻找出许多隐藏着的椭圓性,螺旋性、三角形和圆弧形、长方形等等。但有些几何形都是作者硬找出来甚至是被强加的,并不是凭直觉能明确感觉到的。因此,在构图中的实际指导意义很小,并且会引导读者分析画的时候钻牛 Any painting has a composition, but the perfect composition is rare. There are many essays on composition, and the subject is already a commonplace. However, some articles often involve many other issues. For example, Gregorievye’s “Composition of Painting” has a lot of space on color issues, and the real part related to composition is lack of coherence and logic. Some articles are far fetched and obscure. Such as David Howland’s “How to Analyze Paintings,” the author looks for a lot of hidden ellipsoid, helicity, triangle and arc from a painting , Rectangular and so on. However, some geometry is hard to find the author even imposed, not intuitively can clearly feel. Therefore, the practical guidance in composition is very small, and will guide the reader to analyze the drawings when drilling cattle