中国画具有独特的传统和悠久的历史,在几千年的发展进程中,中国画的艺术表现技巧日渐完善成熟,画面中的造型和用色及个体形态的组合状态等呈现出某种特定的情感和理念,逐渐发展成特定的构图原则和特征,产生了一种无法忽视的艺术能量。关于中国画构图理论的文字最早出现在《考工记》中:“杂四十五色之位以章之,谓之巧。”以组织色彩为构图的基本要领,算是比较笼统的构图理论。到了汉代有“谨毛而失貌”之说,即局部必须服从整体,将画面整体和局部关系的处理作为绘画章法所应该遵循的重要法则。东晋六朝,中国画的发展已经到了一个相对成熟的阶段,关于中国绘画的构图也逐 Chinese painting has a unique tradition and a long history. During the course of thousands of years of development, the artistic expression skills of Chinese painting have been gradually improved and matured. The shape and combination of colors and individual forms in the painting show a certain kind of emotion Philosophy, and gradually developed into a specific composition of principles and characteristics, resulting in an irreversible artistic energy. The text on the theory of Chinese painting composition first appeared in the “Kao Gong Ji”: “Miscellaneous forty-five bit by chapter, that the trick. ” Organizational color as the basic essentials of composition, be more general composition theory . In the Han Dynasty, there was a saying that “Mao and the appearance” should be used. That is, the part must be subordinate to the whole body and take the handling of the whole and the part of the picture as an important law to be followed in the painting law. The Eastern Jin Dynasty and the Six Dynasties, the development of Chinese painting has reached a relatively mature stage, the composition of the Chinese painting also by