摘要:纵观整个中国画发展史，会发现从魏晋时期——中国画基本形态确定下来起一直到宋代，中国画的构图形式呈现出的是一种“满”的面貌。之后以宋代为节点到鸦片战争发生以前，中国画的构图形式呈现的是另一个面貌，也就是文人画所提倡的“疏”的面貌。从鸦片战争之后一直到现代，中国画的构图形式又由“疏”的面貌开始转变为“满”的面貌，这三个历史阶段的构图变化，分析其变化的原因在我看来是画家在特定的时代里，审美取向发生了特定的转变，这种转变发生的原因可能是多方面的，需要我从时代背景下影响审美取向发生变化的主要原因出发，以此来论证我的观点。
关键词：满、疏、构图
Abstract:Throughout the history of Chinese painting, will find in wei-jin period - Chinese paintings from the basic morphological settled up until the song dynasty, Chinese painting composition form show is a "full" appearance. In the song dynasty is the node to after the opium war happened before, Chinese painting composition form appears is another face, namely the literati paintings advocate "parse" appearance. After the opium war until modern, Chinese painting composition form and by "parse" face is beginning to change as "full" appearance, the three historical stages of composition change, analyzes its the reason of its changes in my opinion is painter in certain age, the aesthetic orientation happened specific transformation, this change happened reason may be various, need me from background influence aesthetic orientation of the main causes on change, in order to demonstrate my point of view.
Keyword: full、sparse、composition
