Composition– (from Lat. . composition– composing, linking, joining), construction work of art, determined by its content, character, purpose and laws inherent in the composition, and largely determining its perception. Composition is the most important process that organizes the artistic form, giving the work unity and integrity, subordinating its components (components) to each other and to the whole. Composition is often identified with the structure of a work. Composition has multiple meanings: it is both a harmonious (or disharmonious) relationship of parts, and a process - the layout of a work. The concept of composition is relevant for all types of art. Initially it was developed based on the material of a literary text. Its foundations were laid in Aristotle's Poetics.
Composition is the construction of a work, the organization of its artistic form. It acquires its value properties in interaction with a person, his needs and perceptions. Its tasks include establishing connections between “object” and “subject” in all the complexity studied by the psychology of perception. Composition is the law of constructing various levels, layers of a work. It allows the perceiving subject to go from part to whole, from one layer of artistic form to another, from primary meanings and meanings to the generalized content of the work and back. The composition works as a program of perception offered to the viewer, and therefore, despite all the apparent naturalness and unintentionality of artistic perception, it has a preliminary character. Embodying meanings and meanings, the composition carries suggestive, suggestive functions.
The main goal of the composition is the integrity of the work, ensured by the unity of all expressive means, as well as the expedient organization of the functional process for which this or that product is intended. In accordance with the three main categories of form - space, plasticity (volume, mass) and color - the unity of the composition develops as a three-level (or three-layer) artistic unity, based on the unity of content, functionality and meaning. The purpose of the composition is to organize the spatial environment surrounding a person. The main thing for its integrity is spatial unity, consistency, proportionality, subordination of three-dimensional and two-dimensional elements of the composition, all its forms, which predetermine the holistic perception of the work. According to the nature of the space being formed, the composition can be compact and dispersed, closed, semi-open and open, centric and polycentric, axial and multi-axial, symmetrical and asymmetrical. Since the properties of the space being formed are inextricably linked with its structure and the nature of the elements that form it (volumes, surfaces), the spatial unity of the composition depends on the ratio of volumes and open spaces, on the size and geometric shape of both, on the nature of the planes forming the space, static or dynamic balance of all structural guides of space, be it its axes or boundaries.
Spatial stereotypes of composition are the most resistant to stylistic changes, because they are associated with the very essence of the worldview of a particular culture. Therefore, spatial stereotypes are staged and can have multiple stylistic interpretations. The spatial unity of the composition is perceived in movement and time. The exception is multicentric and longitudinally symmetrical compositions, where space is perceived as the visual unity of all elements of the composition from one static point of view, by analogy with the unity of the visual surface of a perspectively constructed painting or graphic sheet. Hence, the graph of movement in space is extremely important for the perception of the unity and continuity of the space of the composition. The spatial unity of the composition is achieved through a hierarchy of interconnected elements, the dominance of some and the subordination of others. Along with complex hierarchical systems of subordination, relations of greater independence are possible - juxtaposition, comparison and opposition of elements that create their certain attraction - repulsion. The plastic interpretation of the composition follows the spatial concept, reveals it, having much greater variability and mobility. The tendency towards plastic expressiveness of the composition, towards sculptural modeling of spaces naturally ends with the use of sculptural plasticity itself, associated with the composition of the object.
The next group of formal-content connections between composition elements is color connections. Due to the primacy of the perception of color and the emotional expressiveness of its tones and combinations, the color harmonies of a composition can be leading in a number of spatial, plastic and coloristic connections. The color image then becomes the leading principle of the entire work. In a single composition, the actual color composition is the otherness of painting, the result of a creative process that synthesizes color with space, mass, plasticity, creating color-space and color-plastic form. The color form is aesthetically valuable in its own right, variable, mobile, multifunctional, and can develop relationships or relationships that are independent of the volumetric-spatial structure, revealing this structure. The color composition develops its dominance, dynamics, scale, rhythmic and proportional structure of chromatic and achromatic colors, coinciding or dialogizing with scale, rhythm, proportions and dominance of masses and spaces.
Thus, there is a need for a trinity of spatial, volumetric-plastic and color composition. This trinity itself can be formed in accordance with different principles of integrity - unison (agreement, mutual identification of all aspects of the composition) or dialogical, contrapuntal, polyphonic (nonconformity, opposition or comparison of parallel or autonomously developing aspects of the composition). The visual integrity of the composition coexists with the principle of unity of the useful and the beautiful, design and form, internal environment and external form. Visual integrity corresponds to a preferred, certain “true” point of view; it is characterized by a one-time, conditionally static perception. In understanding the essence of artistic integrity of the 20th century. a great contribution was made by the theoretical developments of such major artists as V. Kandinsky, S. Eisenstein, literary critic and cultural historian M. Bakhtin. Critically comprehending the limitations of the principle of parallel (or unison) development of expressive means in composition, Kandinsky believed that in their “opposition” lies an inexhaustible range of possibilities for complex composition. Eisenstein's concept of counterpoint, which consists in the purposeful asynchrony of sound and image, essentially outlines the same type of dialogic and polyphonic integrity that was formulated by M. Bakhtin based on the novels of F.M. Dostoevsky. Three categorical aspects of composition, as well as three visually perceived aspects of the artistic form of a work - space, plasticity, color - can be connected through dialogic opposition (counterpoint).
The essential properties of the composition of an object in the compositional process act as means associated with a certain range of figurative and compositional tasks. And on the contrary, participating in the processes of compositional thinking, the means of composition are expressed in material results - drawings, drawings, layouts, properties and qualities of their artistic form. The specifics of creative tasks determine the predominant use of certain means of composition. Since the condition for the emergence of artistic qualities of a composition is the spatial, plastic and color unity of all elements of form, i.e. consistency, proportionality, their subordination, then all compositional means - scale, contrast, nuance, etc. - are considered from the point of view of building the unity of the composition.
Based on historical experience, primarily the Classical period, a method of dividing spatial forms and certain regular relationships was identified, with the help of which the spatial unity of the composition was achieved. The regular or harmonious relations of division of volumes, spaces and planes known in practice are divided into two groups: simple, built on relations prime numbers, and irrational, obtained using geometric construction. Simple relationships - 2:3, 3:4, 2:5, 3:5, 4:5, 5:6 contain a model that fits the whole without big number times in each spatial quantity included in the relation. Thus, in simple relationships there is a clear pattern of spatial quantities, which is the basis of their harmonic connection. Irrational relations are based on a simple geometric pattern of their construction. The most common ratio of the diagonal of a square to its side is (1:√2); the ratio of the height of an equilateral triangle to half of its base (1:√3); the ratio is 1.62...:1, known as the golden ratio. L.B. Alberti drew an analogy between the relationships of spatial quantities and relationships in music, arguing that harmony is based on the same numbers, on the basis of which relationships and consonances are built.
There is no reason to talk about a complete analogy, but the relatedness of the harmonies is undeniable.
Universal artistic patterns that manifest themselves in all types of art are the patterns of identity and difference, contrast and nuance. The repetition of different quantities, geometric shapes, color tones of volumes and surfaces establishes the simplest relationship between them due to their identity, in some aspect, a number of aspects. Relations that approach identity are called nuances. In nuanced relationships, including color relationships, the similarity is more pronounced than the difference. As the difference between the compared quantities increases, their connection according to the principle of similarity weakens and another connection begins to predominate. Relationships with pronounced inequality or difference are called contrasting. Contrasting values are associated with each other due to their differences and opposition. Contrast is a means of identifying the culminating and ordinary elements of a composition, their subordination in the system of a city, ensemble, building. Contrast accentuates the most important parts of the composition, allowing you to read its structure. The types of contrasts are inexhaustible: mass and space, large - small, vertical - horizontal, light - heavy, transparent - opaque, colored - achromatic, etc. The types and types of nuanced relationships are just as diverse. Identity, contrast and nuance act as natural forms of compositional connection of spatial quantities, a means of constructing the spatial, plastic and color unity of the composition. Identical and nuanced relationships in three spatial coordinates and color parameters of surfaces characterize the relative static nature of the forms. The contrast in the relationships of space and mass, plastic volumes, color tones of volumes and surfaces creates the dynamics of the composition, which is expressed in visual movement in the direction of the dominant value. This applies equally to both volumetric, spatial, and color characteristics of the form. The principles of unequal relationships - contrast and nuance - make it possible to divide a form into elements according to their degree of significance in the system of the whole. The degree of increase in differences and contrasts of the main and subordinate forms and elements of the composition has limits associated with the conditions of integrity. With an endless increase in differences between elements, a moment may come when contrast as a compositional means is disrupted and a disintegration of spatial, plastic or color unity occurs. The patterns of symmetry and asymmetry are associated with identity and difference as universal means of composition. Their manifestations are very different. History, along with correctness, geometricity, clear expression in volumetric-spatial constructions of mirror or central symmetry, provides numerous examples with a predominance of seemingly random, geometrically incorrect constructions. The lack of regularity and asymmetrical beginning in many ensembles, including those formed primarily by buildings that are symmetrical in their composition, can be explained, firstly, by the conditions of the long historical formation of ensembles, and secondly, by the actual principle of the dominance of the “picturesque” element. The lack of symmetrical orderliness of a number of ensembles, buildings and structures does not mean the absence of their compositional organization. Rather, on the contrary, more complex types of order, based on the asymmetrical balance of volumes and spaces, their comparison in mass, size, configuration, color, indicate a high degree of organization of the composition. Such compositional techniques are characteristic of ensembles that have been formed over centuries.
The key means of composition are scale and scale. The dismembered form seems larger than the undivided one, especially for horizontal divisions. A light surface always appears larger than an equal dark one. Vertical lines and shapes appear larger than their horizontal counterparts. Scale is not associated with the real size of an object, space or their elements, but with those perceived visually in accordance with optical effects determined by the divisions of the form, its color and texture characteristics.
Ideas about scale undergo changes over time - in the historical time of a culture, during the life of each person. They are most acutely revealed in details directly related to the size of the human figure: steps, balustrades, parapets, which act as “scale indicators.” The scale consistency of the work with environment is achieved by superimposing different scales - a technique typical of the architecture of the past. One of many examples is the Palazzo Pitti in Florence with its large but finely modeled arched openings. The construction of a holistic and large-scale composition is associated with the relationships between top and bottom that arise when comparing forms vertically. Mass has heaviness, weightiness, which, depending on various conditions may be visually expressed to a greater or lesser extent. A striking example The Doge's Palazzo in Venice gives an active expression of mass. The massive upper part is supported by a spatially resolved lower part. The entire composition is subordinated to the expression of the vertical juxtaposition of the massive and spatial. The opposite impression, that is, the absence of pronounced weight relationships and the impression of lightness, is revealed when comparing the space and mass of the Pazzi chapel f. Brunelleschi.
The means of bringing to unity of relations of parameters of spatial form are proportions as a method of constructing the unity of spatial quantities. Proportionality was considered in antiquity to be one of the prerequisites for beauty. A universal means of expression for any artistic form is rhythm. Rhythm is based on the repetition in space of elements and relationships at commensurate intervals. The simplest pattern of rhythm is the equality of forms and intervals. This order is called a meter. An example of this is the arrangement of columns in a classical portico. The comparison of various metric series in a composition can serve as an expression of monumentality, calmness, and scale. Rhythm as the law of connection between elements makes it possible to build the unity of a composition. A large number of rhythmically changing elements and forms, with their long duration and long-term perception, can, similar to a rhythmic series, give rise to monotony and monotony. The tension of the rhythm in the composition is formed by the inclusion in the rhythmic order of contrasts, accents, grouping of elements and similar techniques that complicate the rhythmic pattern. The traditional category of composition is tectonics. The continuously expanding series of tectonic concepts associated with it constitutes the semantic basis. Tectonicity of forms was often identified with the literal coincidence of form and structure. However, this is a special case of tectonics, which was confirmed in the works of P.L. Nervi, F. Candella. Basically, tectonic forms depict, and do not reflect, the work of the structure, in which the artistic nature of architecture is manifested, the tectonic expression of changes in the relationship between the main elements of the composition (for example, the height of the column and the size of the intercolumnium in the order), changes the nature of the composition, giving different figurative value properties: power , strength, grace, etc. Thus, the essence is expressed through tectonics and through construction. Rhythm takes on a special tectonic meaning in the composition. The difference between horizontal and vertical rhythm in the composition is due to its tectonic nature. Proportions, color, and texture have tectonic or atectonic meaning. Tectonics appears as a universal and at the same time unique pattern.
Since space is the main category of form, the subject and goal of creativity, types of composition differ based on the spatial arrangement of elements associated with three types of their perception; other dimensions, although they can be classified as linear, are nevertheless solved by methods of volumetric composition ( free-standing objects, volumes different types ). Forms in which the height, on the contrary, is contrastingly small in relation to other parameters, although they are planar in nature, are also solved by methods of volumetric composition. Revealing the volumetricity of a form depends on the nature of the division of its surface and mass. With forms formed by both curved surfaces and flat ones that meet at an angle, the clarity of volume depends on the display of horizontal divisions of the forms. In classic examples of volumetric composition, horizontal divisions, together with the active extension of the cornice that completes the object, reveal the mating surfaces, that is, a holistic volume. Revealing the volume of the composition is achieved not only by dividing the mass, but also by comparing contrasting volumetric elements, pairing rectangular and curvilinear shapes surrounding the main volume or mating with it. The solution to a volumetric composition is not limited to identifying its volume, but is also determined by the divisions of its surface and mass based on proportions, relationships and rhythm, thanks to which the expressiveness of unity, scale, tension and dynamics of the volumetric composition is achieved. The division of volume follows both the surface and the mass as a whole; a combination of both divisions is possible. In the case of equivalence of divisions of all sides of the volume, a centrally symmetrical composition is formed (Villa Rotunda, Corner Tower of the Moscow Kremlin). Divisions can express the difference between the sides of the volume, subordinating them to each other. A striking example is the club named after. Rusakov in Moscow by K. Melnikov, with its correctly located three halls, manifested in three large dynamic volumetric consoles on the main volumetric form. One of the main issues of unity and integrity of a volumetric composition, similar to the frontal one, is the question of the compositional center. The compositional center can be one of the surfaces (sides) of a simple volumetric form or a volumetric part of the composition, such as the portico of the Pantheon, or one of the volumetric forms in a variety of subordinate forms, for example, the central miner in St. Basil's Cathedral. In all cases, the compositional center is focused on the main points of view, the main approaches (highways, streets, squares). The position and nature of the compositional center determine the nature of the composition as a whole. Thus, with the equivalence of all subordinate forms surrounding the center, a composition is formed with a vertical axis of symmetry (villa “Rotunda”). When the elements are equivalent on both sides of the compositional center, a composition with a vertical plane of symmetry (Pantheon) is formed. If the position of the dominant of a volumetric composition is such that it is surrounded by unequal volumes and elements, then the composition is determined by the balance of all elements and properties of the form (Erechtheion). A volumetric composition can combine the principles of symmetry and asymmetry (St. Basil's Cathedral). In complex volumetric compositions, it is possible to have two or more compositional centers, subordinate to each other and orienting the composition towards several main approaches from different sides.
Depth-spatial composition is characterized by the relationship of surfaces, volumes, spaces between them, located along three coordinates and designed for perception when moving in depth. The characteristic and dominant feature of such a composition is not one volumetric form or a group of them, but also the space formed by their regular arrangement. Thus, the space of St. Peter's Square is limited on two sides by L. Bernini's colonnade and is closed in the depths by the facade of the cathedral. The deep space of the Athens Acropolis is built by free-standing volumes. The beginning of the composition is the approaches to the hill on which the Acropolis is located. The next stage is the Propylaea, designed as a relatively closed space through which the main open space of the Acropolis is revealed, organized by 2 volumes - the Parthenon and the Erechtheion and the statue of Pallas Athena, which stood in the center of the square. The entire Acropolis complex was conceived and designed as an asymmetrical spatial composition, perceived in motion. The Acropolis was conceived and designed in such a way that when the ensemble moved in space, only one volume dominated in each of the 3 main points of view: the statue of Athena, the Parthenon or the Erechtheion. All these visual pictures of the composition of the Acropolis were designed for movement along a certain route and at certain points of perception. The unity of the spatial composition was driven by the subordination of each spatial fragment to the main motive. The asymmetry of the plan was balanced by the interaction of volumes and spaces between them.
When constructing deep space, it is not enough to determine its boundaries, but it is necessary to establish a number of intermediate forms that create a reference for the duration of space. The number of elements dividing the space depends on the actual dimensions of the space in depth. Typical techniques for constructing deep space are:
1) section method: a form directed by its large dimension into the depth of space is its secant and causes visual movement along its direction;
2) method of overlaying or obscuring (overlapping): when dividing deep space with linear, planar or volumetric forms located frontally in relation to the main points of the object, the foreground forms can partially obscure the forms located on subsequent plans. This overlapping or obscuring of forms reveals their relative position. This technique of constructing space was known in the murals of Ancient Egypt;
3) perspective (linear, aerial, color) - the most common technique for constructing deep space in painting - is also used in spatial composition (perspective portals). However, this technique is also used in the construction of open space streets and ensemble squares. The arrangement in the plan of planes that seem to go to one point creates the impression of a deeper space. And, around the form;
4) when moving in depth. Every work is characterized by all three types of perception, with one or the other predominant.
In accordance with the accepted feature, three types of composition should be distinguished: frontal, volumetric and deep-spatial. A characteristic feature of a frontal composition is the construction of elements of spatial form and their compositional connection along two frontal coordinates, while the third, deep, has a subordinate meaning. The frontality of the composition is determined by the orientation towards the main points of view on one side. The simplest type of frontal composition is a flat rectangular surface located frontally to the main point of view. The elements of such a composition in their relative arrangement do not develop in depth, being only a relief dividing the surface. Typical for a frontal composition is a nuanced relationship between the main quantities (length and height). The sharp dominance of height turns the composition into a volumetric one, although it has a pronounced frontal character. A striking example of this type of composition is the Tower of St. Mark in Venice. Surfaces with a predominance of the horizontal dimension over the vertical retain the character of frontality even with a significant contrast between the main dimensions. A rectangular silhouette is typical for a frontal composition. The trapezoidal silhouette is perceived as an inclination of the frontal surface towards or away from the viewer; an inclined or curved silhouette deforms the frontal surface, visually leading it into depth. The divisions characteristic of the frontal composition are vertical and horizontal. The condition for maintaining frontality is the balance of color, texture, light and shade and relief of surface elements. Increasing color intensity, relief or texture, or any element creates tension that destroys the frontal composition.
The divisions of the form can reveal the main elements in relation to the subordinates, connect all the elements into a certain unity, form such qualities of the composition as tension, scale, dynamism or static, etc. horizontal divisions limit the surfaces, highlight the dominant parts, determine the difference between the top and bottom , their weight interaction and subordination. Vertical divisions also compositionally limit the frontal surface and highlight the dominant part. The division of the frontal surface is possible by introducing into it a closed form, a complex set of forms, which helps to highlight the compositional center. The size, type and position of the introduced closed form in relation to the main one and its boundaries determine the nature of the composition, giving it the qualities of static or dynamic, directional, large-scale, etc. combination different types divisions allows you to solve complex composition problems. Big number divisions of the frontal composition can be reduced to a smaller number of basic, clearly readable divisions by establishing, their subordination and grouping the relationship of surface elements; subordinate elements can have their own subordinate divisions. Thus, a system of two, three or more degrees of subordination of the frontal composition is created.
The method of subordinating a large number of divisions of a composition reveals its main part, secondary accents, beginning and completion. Depending on the dominance of vertical or horizontal divisions in the lower or upper parts of the frontal surface, a feeling of upward movement, completeness or stability of the composition arises. The divisions can be linear or relief in nature and vary in density, color, texture.
Composition is the arrangement of parts literary work in a certain order, a set of forms and methods of artistic expression by the author, depending on his intention. Translated from Latin language means “composition”, “construction”. Composition builds all parts of the work into a single, complete whole.
It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the end. Sometimes the composition of a book intrigues the reader and he looks for a sequel to the book or other works by this writer.
Composition elements
Among such elements are narration, description, dialogue, monologue, insert stories and lyrical digressions:
- Narration - main element compositions, the author's story, revealing the content of the work of art. Occupies most of the volume of the entire work. Conveys the dynamics of events; it can be retold or illustrated with drawings.
Description. This is a static element. During the description, events do not occur; it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. Landscape is not necessarily an image of nature, it can be a city landscape, lunar landscape, description of fantastic cities, planets, galaxies or description fictional worlds.- Dialogue- conversation between two people. It helps to reveal the plot, deepen the characters characters. Through the dialogue between two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, and begins to better understand the characters’ characters.
- Monologue- speech of one character. In the comedy by A. S. Griboedov, through Chatsky’s monologues, the author conveys thoughts advanced people his generation and the experiences of the hero himself, who learned about his beloved’s betrayal.
- Image system. All images of a work that interact in connection with the author’s intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are awkward images invented by the author, for example, “The Nose” from Gogol’s story of the same name. The authors simply invented many images, and their names became commonly used.
- Insert stories, a story within a story. Many authors use this technique to create intrigue in a work or at the end. A work may contain several inserted stories, the events in which take place in different time. Bulgakov in “The Master and Margarita” used the device of a novel within a novel.
Author's or lyrical digressions. Gogol has many lyrical digressions in his work “Dead Souls”. Because of them, the genre of the work has changed. It's big prose work called the poem “Dead Souls”. And “Eugene Onegin” is called a novel in verse because of the large number of author’s digressions, thanks to which the readers are presented impressive picture Russian life early 19th century.- Author's description. In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his heroes - so precise and succinct that his heroes often become household names.
- Plot of the story- this is a chain of events occurring in a work. The plot is the content literary text.
- Fable- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
- Scenery- description of nature, real and imaginary world, city, planet, galaxies, existing and fictional. The landscape is artistic device, thanks to which the character of the characters is revealed more deeply and an assessment of events is given. You can remember how it changes seascape in Pushkin’s “The Tale of the Fisherman and the Fish,” when the old man comes to the Golden Fish again and again with another request.
- Portrait- this description is not only appearance hero, but also him inner world. Thanks to the author’s talent, the portrait is so accurate that all readers have the same idea of the appearance of the hero of the book they read: what Natasha Rostova, Prince Andrei, Sherlock Holmes looks like. Sometimes the author draws the reader's attention to some characteristic feature hero, for example, Poirot’s mustache in Agatha Christie’s books.
Don't miss: in the literature, examples of use.
Compositional techniques
Subject composition
The development of the plot has its own stages of development. There is always a conflict at the center of the plot, but the reader does not immediately learn about it.
The plot composition depends on the genre of the work. For example, a fable necessarily ends with a moral. Dramatic works of classicism had their own laws of composition, for example, they had to have five acts.
The composition of the works is distinguished by its unshakable features folklore. Songs, fairy tales, and epics were created according to their own laws of construction.
The composition of the fairy tale begins with the saying: “Like on the sea-ocean, and on the island of Buyan...”. The saying was often composed in poetic form and was sometimes far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen to him without being distracted. Then he said: “This is a saying, not a fairy tale. There will be a fairy tale ahead."
Then came the beginning. The most famous of them begins with the words: “Once upon a time” or “In a certain kingdom, in the thirtieth state...”. Then the storyteller moved on to the fairy tale itself, to its heroes, to wonderful events.
Techniques of a fairy-tale composition, a threefold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka on a horse flies to her and tears off the ring, three times the Tsar tests his daughter-in-law in the fairy tale “The Frog Princess”.
The ending of the fairy tale is also traditional; about the heroes of the fairy tale they say: “They live, live well and make good things.” Sometimes the ending hints at a treat: “A fairy tale for you, but a bagel for me.”
Literary composition- this is the arrangement of parts of a work in a certain sequence, this is an integral system of forms artistic image. The means and techniques of composition deepen the meaning of what is depicted and reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.
During the times of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This rule of three unities: time, place, plot. This is a five act structure. dramatic works. This speaking names and a clear division into negative and goodies. The compositional features of classicism are a thing of the past.
Compositional techniques in literature depend on the genre of the work of art and on the talent of the author, who has available types, elements, techniques of composition, knows its features and knows how to use these artistic methods.
The basis of any work of art is composition, which gives it unity and integrity. Composition has its own laws, which are formed in the process of artistic activity.
This is about plot composition for the artist, about individual techniques with the help of which the greatest expressiveness of the picture is achieved. Let us dwell on the relationship between two concepts - plot and content. By plot we must understand what the master directly depicted in his work. The plot, figuratively speaking, is on the surface of the iceberg, and the content is its deep part. Hundreds of people perceive and interpret the same story in different ways, that is, they create their own version of the content.
Of course, the right to choose remains with the artist, who, through the means of pictorial composition, reveals to the viewer all the versatility of the content.
The most common compositional techniques in painting include rhythmic structures. In such works, all elements of the work are subordinated only to rhythm. The artist can set a clear, rigid rhythm. There is not a single detail in it that exists outside of harmonious coherence.
Let's consider several laws of composition.
1. Composition, translated, means to compose, compose, therefore its important law is integrity. Integrity is expressed in such a way that the objects in the drawing are perceived as a single whole, no part of the work seems superfluous, where there is no chaos.
2. It is important to identify in the drawing composition center(semantic center), so that it attracts attention, highlights those objects that are meant to be the main ones.
3. Contrast.
Contrast is of the following types:
Color contrast (light-dark). For example, the colors black-white, black-red will always be contrasting, that is, expressive, and will always be able to highlight the main idea in the drawing.
Contrast of magnitudes (small-large). That is, a big thing against a small background will always be more contrasting than, for example, all the objects in the picture would have the same size.
Semantic contrast. For example, when comparisons are made between positive and negative characters
4. Statics- This is a state of balance and peace. For example, the lower to the edge of the sheet the objects in the drawing are depicted, the more static the work is. And the more symmetrical the objects at work, the more static it is.
5. Dynamics- this is movement. The more asymmetrically the objects are located in the picture, the more dynamic the composition.
In order for the drawing to look more expressive, it is necessary to start arranging objects on the sheet with a hard-soft pencil, while relying on knowledge of perspective, proportions, color theory, and most importantly, not to overload the work.
Thus, we have examined the basic laws of composition.
The rules, techniques and means of composition are developing, enriched by the creative practice of new generations of artists. Those rules and techniques that enabled artists to achieve the best results in conveying the phenomena of reality, in creating an artistic image, acquired significance for the subsequent development of fine art.
The means of composition are line, shading (stroke), spot (tonal and color), linear perspective, chiaroscuro, aerial and color perspective.
Several “laws” of composition can be distinguished:
- Law of Integrity.
Integrity as a phenomenon that unites elements, parts into a single whole, manifests itself everywhere in nature and society and acts as a dialectical law. Thanks to compliance with the first law of composition - the law of integrity - a work of art is perceived as a single and indivisible whole.
The essence of the law can be revealed by analyzing its main features or properties. Main feature the law of integrity - the indivisibility of a composition means that it is impossible to perceive it as the sum of several, even to a small extent, independent parts. Indivisibility is laid down in the composition through the artist’s finding a so-called constructive idea that can unite all the components of the future work into one whole. - Law of contrasts.
The law of contrasts is one of the basic laws of composition. The term “contrast” denotes a sharp difference, the opposite of the sides.
If there are no opposites, no contrasts, then there will be no struggle and unity. Thus, without contrasts there can be no struggle, and therefore no movement, change, development. This means that contrasts in the global meaning of this concept are one of the main, integral conditions for the origin, existence, and development of matter, and therefore of life itself.
Since the effect of contrasts is manifested in the laws of both nature and society, then, of course, in all areas public consciousness. In art (including fine art), as one of the forms of social consciousness, the effect of contrasts is also reflected.
The main contrasts in fine arts are tonal (light) and color natural contrasts. On their basis, other types of contrasts arise and operate - contrasts of lines, shapes, sizes, characters, states, as well as contrasts associated with ideas (contrasts of ideas, positions), contrasts in constructing a plot (contrasts in finding a constructive idea), etc. .
- contrasts are the law of composition; they express the struggle of opposites.
- Without contrasts it is impossible to create not only works of art, but even simple ones. image. Without contrasts, the image will merge with the background.
- contrasts create the expressiveness of a work of art and therefore act as an influencing force in the composition.
- contrasts in a composition act as a compositional force not only from the point of view of the “mechanics” of construction, that is, the construction of a composition as some kind of structure, but also from the point of view creative process creation artistic images: Much of the creative process of creating a work by an artist involves determining the nature of the contrasts.
- Law of Subordination
The law of subordination of all means of composition to an ideological plan obliges the artist to create his work as integral in design and impact on the viewer. When working on a work, the artist expresses through composition what interests him, captivates him, shows his attitude towards the depicted, his understanding, i.e. gives a moral and aesthetic assessment. Thus, everything that the artist depicts, especially from the imagination, becomes an artistic phenomenon only when it is inspired by an ideological plan realized through composition. Otherwise, it will be a handicraft, photographic copying of real objects. This law requires taking into account the relationship of volumes, color, light, tone and shape, as well as the transmission of rhythm and plasticity, movement or a state of relative rest, symmetry or asymmetry. - Law of influence
The law is fully formulated as the law of the influence of the “frame” on the composition of the image on the plane.
- an object depicted on a uniform field close to the “frame”, as a result of the viewer’s habit of feeling the depth of the picture (anticipation) caused by the presence of the “frame”, is perceived to lie close to the plane of the “frame” or even partially merged with it;
- an object located not close to the “frame”, and especially in the central zone of the picture, is perceived to lie in the depths;
- Thanks to the presence of a “frame,” a flat, flat field becomes a space that is still completely indefinite, perspectively and metrically.
Composition
Composition
COMPOSITION (from the Latin “componere” - to fold, to build) is a term used in art criticism. In music, K. is called the creation of a musical work, hence: composer - author of musical works. In literary studies, the concept of K. passed from painting and architecture, where it denotes the combination individual parts works into an artistic whole. K. is a branch of literary criticism that studies the construction of a literary work as a whole. Sometimes the term K. is replaced by the term “architectonics”. Each theory of poetry has a corresponding doctrine about K., even if this term is not used.
The dialectical materialist theory of calculus in its developed form does not yet exist. However, the main provisions of the Marxist science of literature and individual excursions of Marxist literary scholars in the field of composition study allow us to outline correct solution problems K. G. V. Plekhanov wrote: “The form of an object is identical with its appearance only in a certain and, moreover, superficial sense: in the sense of external form. A deeper analysis leads us to an understanding of form as the law of an object, or, better, its structure” (“Letters without an address”).
In its worldview, a social class expresses its understanding of the connections and processes in nature and society. This understanding of connections and processes, becoming the content of a poetic work, determines the principles of arrangement and deployment of material - the law of construction; First of all, one should proceed from the concept of characters and motives and through it move on to the composition of verbal material. Each style expressing the psychoideology of a particular class corresponds to its own type K. V various genres of one style, this type sometimes varies greatly, while at the same time maintaining its basic characteristics.
For more details on K.'s problems, see the articles Style, Poetics, Plot, Versification, Subject, Image.
Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .
Composition
(from Latin composito - composition, linking), construction of a work of art, organization, structure of the form of the work. The concept of “composition” is close in meaning to the concept of “structure of a work of art,” but the structure of a work means all its elements in their interrelation, including those related to the content (the plot roles of the characters, the relationship of the heroes to each other, author's position, a system of motives, an image of the movement of time, etc.). We can talk about ideological or motivic structure works, but not about ideological or motivic composition. In lyrical works, the composition includes the sequence lines And stanzas, the principle of rhyming (rhyme composition, stanza), sound repetitions and repetitions of expressions, lines or stanzas, contrasts ( antitheses) between different verses or stanzas. In dramaturgy, the composition of a work consists of a sequence scenes And acts contained in them replicas And monologues characters and author's explanations ( remarks). In narrative genres, composition is a depiction of events ( plot) and extra-plot elements: descriptions of the setting of the action (landscape - descriptions of nature, interior - description of the decoration of the room); descriptions of the characters’ appearance (portrait), their inner world ( internal monologues, improperly direct speech, generalized reproduction of thoughts, etc.), deviations from the plot narrative, which express the author’s thoughts and feelings about what is happening (the so-called author’s digressions).
The plot, characteristic of dramatic and narrative genres, also has its own composition. Elements of plot composition: exposition (depiction of the situation in which the conflict arises, presentation of characters); the beginning (the origin of the conflict, the starting point of the plot), the development of the action, the climax (the moment of the highest aggravation of the conflict, the plot peak) and the denouement (the exhaustion of the conflict, the “end” of the plot). Some works also have an epilogue (a story about the subsequent fate of the heroes). Certain elements of the plot composition may be repeated. So, in the novel by A.S. Pushkin « Captain's daughter" three climax of the episode(take Belogorsk fortress, Grinev at Pugachev’s headquarters in Berdskaya Sloboda, Masha Mironova’s meeting with Catherine II), and in the comedy N.V. Gogol"The Inspector General" has three endings (a false ending - Khlestakov's engagement to the mayor's daughter, the second ending - the arrival of the postmaster with the news of who Khlestakov really is, the third ending - the arrival of the gendarme with the news of the arrival of the true auditor).
The composition of the work also includes the structure of the narrative: changing narrators, changing narrative points of view.
There are certain repeating types of composition: ring composition (repetition of the initial fragment at the end of the text); concentric composition (plot spiral, repetition of similar events as the action progresses), mirror symmetry (repetition, in which for the first time one character performs a certain action in relation to another, and then he performs the same action in relation to the first character). Example mirror symmetry- a novel in verse by A. S. Pushkin “Eugene Onegin”: first Tatyana Larina sends a letter to Onegin with a declaration of love, and he rejects her; Then Onegin, having fallen in love with Tatyana, writes to her, but she rejects him.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .
Composition
COMPOSITION. The composition of a work in the broad sense of the word should be understood as a set of techniques used by the author to “arrange” his work, techniques that create the overall design of this latter, the order of its individual parts, transitions between them, etc. The essence of compositional techniques is thus reduced to the creation of some complex unity, a complex whole, and their meaning is determined by the role they play against the background of this whole in the subordination of its parts. Being, therefore, one of the most important moments embodiment of poetic intent, composition of this work is determined by this plan, but it differs from other of these moments by the immediacy of its connection with the general spiritual mood of the poet. Indeed, if, for example, the poet’s metaphors (see this word) reveal the holistic image in which the world confronts him, if the rhythm (see this word) reveals the “natural melodiousness” of the poet’s soul, then it is the nature of the arrangement of metaphors that determines their significance in recreating the image of the whole, and the compositional features of rhythmic units are their very sound (see “Enjambement” and “Stanza”). A striking proof of the noted fact that well-known compositional techniques are directly determined by the poet’s general spiritual mood can, for example, be Gogol’s frequent lyrical digressions, which undoubtedly reflect his preaching and teaching aspirations or the compositional moves of Victor Hugo, as noted by Emile Fage. Thus, one of Hugo’s favorite moves is the gradual development of mood, or, to put it musical terms, as if a gradual transition from pianissimo to piano, etc. As Fage quite correctly emphasizes, such a move in itself speaks for the fact that Hugo’s genius is a “florid” genius, and such a conclusion is really justified general idea about Hugo (the purely oratorical in the sense of emotionality, the effectiveness of this move is clearly manifested when Hugo omits some member of the gradation and abruptly moves from one level to another). Also interesting from this point of view is another technique of Hugo’s composition noted by Fage - to develop his thought in a way that is widespread in everyday life, namely, to pile up repetitions instead of proofs. Such repetition, leading to an abundance of “commonplaces” and itself being one of the forms of the latter, undoubtedly indicates, as Fage notes, the limitations of Hugo’s “ideas”, and at the same time again confirms the “floridity” (the bias of the influence on the will of the reader) his genius. Already from the examples given, which show that compositional techniques are generally determined by the poet’s general spiritual mood, it simultaneously follows that certain special tasks require certain techniques. Of the main types of composition, along with the named oratorical, we can name narrative, descriptive, explanatory composition (see, for example, “A guide to the English language”, edited by H. C. O. Neill, London, 1915) Of course, individual techniques in each of these species are determined both by the poet’s holistic “I” and by the specificity of a separate plan (see, “Strophe” - about the construction of Pushkin’s “I remember wonderful moment"), but we can outline some general sticky, characteristic of each of the compositional types. So, the narrative can develop in one direction and events follow in a natural way. chronological order or, conversely, the time sequence may not be observed in the story, and events may develop in different directions, arranged according to the degree of increase in action. Also found (in Gogol), for example, compositional technique narrative, consisting of a branch from the general narrative flow of individual streams that do not merge with each other, but flow into the general flow at certain intervals. Among the characteristic techniques of descriptive compositions, one can, for example, indicate the composition of the description based on the principle of a general impression, or the reverse, when one proceeds from a clear fixation of individual particulars. Gogol, for example, often uses a combination of these techniques in his portraits. Having illuminated some image with hyperbolic light (see Hyperbole) in order to sharply outline it as a whole, Gogol then writes out individual particulars, sometimes completely insignificant, but acquiring special significance against the background of the hyperbole, which deepens the usual perspective. As for the fourth of the named types of composition - explanatory, then first of all it is necessary to stipulate the convention of this term in applying it to poetic works. Having a very definite meaning as a method of embodying thoughts in general (this can include, for example, the method of classification, illustration, etc.), an explanatory composition in a work of art can manifest itself in the parallelism of the arrangement of individual moments (see, for example, the parallel arrangement of Ivan’s characteristics Ivanovich and Ivan Nikiforovich in Gogol’s story) or, conversely, in their contrasting opposition (for example, by delaying the action through the description of the characters), etc. If we approach works of art from the point of view of their traditional belonging to epic, lyrical and dramatic, then and here you can find specific features each group, as well as within their smaller divisions (composition of a novel, poem, etc.). In Russian literature, something has been done in this regard only at the very beginning. Lately. See, for example, the collections “Poetics”, books - Zhirmunsky - “Composition of Lyric Poems”, Shklovsky “Tristan Shandy”, “Rozanov”, etc., Eikhenbaum “Young Tolstoy”, etc. It should be said, however, that the approach of the named authors to art only as a set of techniques forces them to move away from the most essential in working on literary text- from establishing the definability of certain techniques creative theme. This approach turns these works into a collection of dead materials and raw observations, very valuable, but awaiting their animation (see Reception).
Ya. Zundelovich. Literary Encyclopedia: Dictionary literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
Synonyms:
COMPOSITION, -i, g. 1. Structure (in 2 values), ratio and mutual arrangement parts. K.novels, paintings, symphonies, books. 2. A work (sculptural, pictorial, musical, literary), complex or heterogeneous in its composition. Sculpture k. Choreographic k. Literary and musical k. Architectural k. 3. Theory of composing musical works. Composition class. 4. A material obtained by combining dissimilar components (for example, iron and concrete, plastic and glass, metal and non-metal) (special). || adj. compositional, -aya, -oe (to 1,3 and 4 values). Compositional features novel. Composite materials.
View value COMPOSITION in other dictionaries
Composition- compositions, w. (Latin compositio - compilation) (book). 1. The theory of composing musical works (music). He studies composition. Composition class at a music school.........
Ushakov's Explanatory Dictionary
Composition by J.— 1. The structure of a work of literature and art, the location and relationship of its individual parts that make up a single whole. 2. A work of painting, music, etc., having........
Explanatory Dictionary by Efremova
Composition- -And; and. [from lat. compositio - composition]
1. Structure, location and relationship components works of literature and art. K. novel. K. opera. K. paintings. Craftsmanship.......
Kuznetsov's Explanatory Dictionary
Composition- - in the Frankish state financial compensation victim for harm caused by the crime. The receipt of K. was prohibited in the Great Ordinance of 1357.
Legal dictionary
Amoebaic Composition- (from the Greek amoibaios - alternating - alternating), a composition (usually poetic), in which passages (verses, stanzas) connected ....... alternate throughout the work.
Composition- (from Latin compositio - composition - linking), 1) the construction of a work of art, determined by its content, character, purpose and largely determining........
Big encyclopedic Dictionary
Chess Composition- creation of original artificial positions of pieces on the chessboard: chess tasks (in which one of the parties is asked to complete a task, for example, declare checkmate......
Large encyclopedic dictionary
Checkers Composition— creation on a 64- or 100-cell board of original artificial positions with tasks - to win, to make a draw (sketches), to deprive the possibility of a move (“lock”) available on........
Large encyclopedic dictionary
Composition— - construction of a work of art, arrangement of parts and objects, as well as a work including individual species arts
Historical Dictionary
Composition- (from Latin compositio - composition, composition).
1) Musical composition, the result of the composer's creative act. The concept of painting as a complete art. the whole thing came together.......
Music Encyclopedia
Composition- - binary algebraic operation. For example, K. (or superposition) of two functions f(x) and g(x) is called. function h(x)=f.O K. in probability theory, see Convolution.
Mathematical Encyclopedia
Composition of Paper (cardboard)— Type and ratio of fibrous and non-fibrous components of paper (cardboard).
Polygraphic dictionary
