What is composition and why is it important? Art: composition, types of composition.

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 means "composing", "building". The 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 final. Sometimes the composition of the book intrigues the reader and he looks for a continuation of the book or other works of this writer.

Composite elements

Such elements include narration, description, dialogue, monologue, inserted stories and lyrical digressions:

1. Narration - main element compositions, author's story, revealing the content artwork... Occupies most the volume of the entire work. It conveys the dynamics of events, it can be retelled or illustrated with drawings.
2. Description... It is a static item. During the description, events do not occur, it serves as a picture, a background for the events of the work. Description is a portrait, interior, landscape. A landscape is not necessarily a depiction of nature; it can be a city landscape, a lunar landscape, a description of fantastic cities, planets, galaxies, or a description of fictional worlds.
3. Dialogue- a conversation between two people. It helps to reveal the plot, to deepen the characters of the characters. Through the dialogue of the two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, begins to better understand the characters of the heroes.
4. Monologue- the speech of one character. In the comedy of A.S. Griboyedov, through Chatsky's monologues, the author conveys the thoughts of the leading people of his generation and the feelings of the hero himself, who learned about the betrayal of his beloved.
5. Image system... All images of the work that interact in connection with the intention of the author. These are images of people fairy tale characters, mythical, toponymic and subject. There are absurd images invented by the author, for example, "The Nose" from the story of the same name by Gogol. The authors simply came up with many images, and their names became common.
6. Insert stories, story within story. Many authors use this technique for intrigue in a piece or for a denouement. There may be several inserted stories in the work, the events in which take place in different time... Bulgakov's The Master and Margarita uses the novel-in-novel technique.
7. Author's or lyrical digressions... There are many lyrical digressions in Gogol's work "Dead Souls". Because of them, the genre of the work has changed. This is great prose called the poem "Dead Souls". And "Eugene Onegin" is called a novel in verse because of a large number copyright digressions, thanks to which an impressive picture is presented to readers Russian life early 19th century.
8. Author's characteristic... 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 characters - so precise and succinct that his characters often become household names.
9. Narrative plot is a chain of events that take place in a work. The plot is the content artistic text.
10. Fable- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
11. Landscape- description of nature, real and imaginary world, city, planet, galaxies, existing and fictional. The landscape is artistic technique, thanks to which the character of the heroes is revealed more deeply and an assessment of events is given. You can remember how it changes seascape in Pushkin's "Tale of the Fisherman and the Fish", when the old man again and again comes to the Goldfish with another request.
12. Portrait- this description is not only appearance hero, but also his inner peace... Thanks to the author's talent, the portrait is so accurate that all readers equally imagine the appearance of the hero of the book they have 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 the books of Agatha Christie.

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Compositional techniques

Subject composition

The development of the plot has its own stages of development. There is always a conflict in the center of the plot, but the reader does not know about it right away.

Subject composition depends on the genre of the work. For example, a fable necessarily ends with morality. Dramatic works of classicism had their own laws of composition, for example, they were supposed to have five acts.

The composition of works is distinguished by its unshakable features. folklore... Songs, fairy tales, epics were created according to their own laws of construction.

The composition of the fairy tale begins with a saying: "As on the sea-ocean, but on the island of Buyan ...". The proverb was often composed in poetic form and at times was far from the content of the tale. The storyteller attracted the attention of the audience with a saying and waited for the listeners to listen to him without distraction. Then he said: “This is a saying, not a fairy tale. The tale will be ahead. "

Then the beginning followed. The most famous of them begins with the words: "Once upon a time" or "In a certain kingdom, in the thirty state ...". Then the storyteller moved on to the fairy tale itself, to its heroes, to wonderful events.

Techniques of a fairy-tale composition, three-fold repetition of events: the hero fights the Serpent Gorynych three times, the princess sits at the window of the tower three times, and Ivanushka on horseback reaches her and breaks the ring, the Tsar tests his daughters-in-law three times 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 - they live and they make good." Sometimes the ending hints at a treat: “You have a fairy tale, but I’m knitted with bagels.”

Literary composition is the arrangement of parts of a work in a certain sequence, it is an integral system of forms artistic image... Means and techniques of composition deepen the meaning of what is depicted, 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.

In the days of classicism, there was a system of rules that prescribed the authors certain rules writing texts, and they could not be broken. This is the rule of three unities: time, place, plot. This is a five act build dramatic works... it speaking surnames and a clear division into negative and goodies... The peculiarities of the composition of the works of classicism are a thing of the past.

Compositional techniques in literature depend on the genre of a 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.

Composition- (from lat . compositio- compilation, linking, connection), the construction of a work of art, due to its content, nature, purpose and laws inherent in the composition, and in many respects determines its perception. Composition is the most important process that organizes an artistic form, giving a work of unity and integrity, subordinating its components (constituent parts) to each other and to the whole. Composition is often equated with the structure of a piece. Composition has multiple meanings: it is both a harmonious (or disharmonious) ratio of parts, and a process - the composition of the piece. The concept of composition is relevant for all types of arts. It was originally developed for the material literary text... Its foundations were laid in the "Poetics" of Aristotle.

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 perception. Its tasks include establishing connections "object" - "subject" in all the complexity studied by the psychology of perception. Composition is the law of building various levels, layers of a work. It allows the perceiving subject to go from part to whole, from one layer of the 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, with all the apparent naturalness and unintentionalness 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, plastics (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, function and meaning. The purpose of the composition is to organize the spatial environment that surrounds 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 integral perception of the work. By the nature of the space being formed, the composition can be compact and dispersed, closed, half-open and open, centric and polycentric, axial and multi-axis, symmetric and asymmetric. 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. equilibrium of all structural guides of space, be it its axes or boundaries.

Spatial stereotypes of the composition are the most resistant to stylistic changes, because they are associated with the very essence of the attitude of a particular culture. Therefore, spatial stereotypes are stadial and can have multiple stylistic interpretation. The spatial unity of the composition is perceived in movement and in time. The exception is multicentric and longitudinally symmetric 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 built 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 carried out through a hierarchy of interrelated elements, the dominance of some and the subordination of others. Along with complex hierarchical systems of subordination, relations of greater independence are possible - the positioning, juxtaposition and opposition of the elements that create their certain attraction - repulsion. The plastic interpretation of the composition follows the spatial concept, reveals it, possessing much greater variability and mobility. The tendency towards the plastic expressiveness of the composition, towards the sculptural modeling of spaces naturally ends with the use of sculptural plastic itself, associated with the composition of the object.

The next group of formally meaningful connections of composition elements is color connections. Due to the primacy of color perception and the emotional expressiveness of its tones and combinations, the color harmonies of the composition can be leading in a number of spatial, plastic and coloristic connections. The color image then becomes the leading principle of the whole 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, plastic, creating a color-space and color-plastic form. The color form is aesthetically valuable in itself, variable, mobile, multifunctional, it can develop relations or ratios that are independent of the volume-spatial structure, which reveal this structure. The color composition develops its dominance, dynamics, scale, rhythmic and proportional order of chromatic and achromatic colors that coincide or dialogize with the scale, rhythm, proportions and dominance of masses and spaces.

Thus, there is a need for a triunity 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 sides of the composition) or dialogical, contrapuntal, polyphonic (non-fusion, opposition or comparison of parallel or autonomously developing aspects of the composition). The visual integrity of the composition coexists with the principle of the unity of the useful and the beautiful, construction and form, internal environment and external form. Visual integrity corresponds to a preferred, a kind of "true" point of view, it is characterized by a one-time, conditionally static perception. In comprehending the essence of the artistic integrity of the 20th century. a great contribution was made by the theoretical development of such major artists as V. Kandinsky, S. Eisenstein, literary critic and cultural historian M. Bakhtin. The critically comprehended limitation of the principle of parallel (or unison) development of expressive means in the composition Kandinsky believed that in their "opposition" lies an inexhaustible number of possibilities for a complex composition. The concept of Eisenstein's counterpoint, which consists in the purposeful asynchrony of sound and image, essentially outlines the same type of dialogical and polyphonic integrity, which was formulated by M. Bakhtin on the basis of 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 dialogical 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-compositional tasks. And on the contrary, participating in the processes of compositional thinking, the means of composition are expressed in material results - drawings, drawings, models, properties and qualities of their artistic form. The specificity of creative tasks determines the predominant use of certain means of composition. Since the condition for the emergence of the artistic qualities of a composition is the spatial, plastic and color unity of all elements of the form, i.e. consistency, proportionality, subordination of them, then all compositional means - scale, contrast, nuance, etc. - are considered from the point of view of building the unity of the composition.

Based historical experience, first of all, of the Classical period, the method of dividing spatial forms and certain regular relationships was revealed, with the help of which the spatial unity of the composition was achieved. Known in practice, regular or harmonious relations of division of volumes, spaces and planes are divided into two groups: simple, based on the ratios of prime numbers, and irrational, obtained using geometric construction. Simple relationship- 2: 3, 3: 4, 2: 5, 3: 5, 4: 5, 5: 6 contain a model that fits a small integer number of times in each spatial quantity included in the ratio. Thus, in simple relationships there is a clear pattern of spatial quantities, which is the basis of their harmonious connection. Irrational relationships are based on a simple geometric pattern of their construction. The most common is the ratio of the diagonal of a square to its side (1: √2); the ratio of the height of an equilateral triangle to half of its base (1: √3); ratio 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 speak of a complete analogy, but the kinship of the harmonies is undeniable.

The universal artistic laws that are manifested in all types of art are the laws of identity and difference, contrast and nuance. Repetition of different values geometric shape , color tones of volumes and surfaces establishes the simplest relationship between them due to their identity, in any aspect, a number of aspects. Relationships that approach identity are called nuances. In nuanced relationships, including color, the similarity is more pronounced than the difference. With an increase in the difference between the compared values, their connection weakens according to the principle of similarity and a different connection begins to prevail. Relationships with pronounced inequality or difference are called contrasting. Contrast values ​​are associated with each other due to their difference and opposition. Contrast is a means of revealing the culminating and ordinary elements of the composition, their subordination in the system of the city, ensemble, building. The 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 nuance ratios are just as diverse. Identity, contrast and nuance act as regular forms of compositional connection of spatial quantities, a means of building spatial, plastic and color unity of a composition. Identical and nuance relationships in three space coordinates and color parameters of surfaces characterize the relative static nature of the forms. The contrast in the relationship between 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 the volumetric, spatial and color characteristics of the form. The principles of unequal relations - contrast and nuance - make it possible to divide the form into elements according to their degree of significance in the system of the whole. The degree of growth of differences and contrasts of the main and subordinate forms and elements of the composition has limits associated with the conditions of integrity. With the endless growth of differences between elements, a moment may come when the contrast as a compositional means is disturbed and the disintegration of spatial, plastic or color unity occurs. Regularities 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, gives numerous examples with a predominance of seemingly random, geometrically incorrect constructions. The lack of correctness, the asymmetric beginning in many ensembles, including those formed by buildings that are predominantly symmetrical in their composition, can be explained, firstly, by the conditions of the long historical formation of the ensembles, and secondly, by the principle of the dominance of the “picturesque” beginning. The lack of symmetric orderliness of a number of ensembles, buildings and structures does not mean the absence of their compositional organization. Quite the opposite, longer complex types orderliness, based on the asymmetric 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 the centuries.

The key means of composition are scale and scale. The dismembered form seems larger than the undivided, especially for horizontal articulations. A light surface always appears larger than an equal dark one. Vertical lines and shapes appear larger than their equal horizontal ones. The scale is associated not with the real size of the object, space or their elements, but perceived visually in accordance with the optical effects, determined with the articulations of the form, its color-textured characteristics.

The concept of scale undergoes changes in time - in the historical time of culture, during the life of each person. They are most acutely revealed in the details directly related to the size of the human figure: steps, balustrades, parapets, acting as "scale indicators". Large-scale consistency of the work with environment achieved by overlapping different scales - a technique typical of the architecture of the past. One of the many examples is the Palazzo Pitti in Florence with its large but subtly modeled arched openings. The construction of a holistic and large-scale composition is associated with the relations of top and bottom that arise when comparing forms vertically. Mass has a weight, weight, which, depending on different conditions can be visually expressed to a greater or lesser extent. A striking example an active expression of mass is given by the Palazzo Doge in Venice. The massive upper part is supported by a spatially resolved lower part. The whole composition is subject to the expression of vertical juxtaposition of massive and spatial. The opposite impression, that is, the absence of pronounced weight ratios and the impression of lightness, is revealed when comparing the space and mass of the Pazzi chapel f. Brunelleschi.

The means of bringing to the unity of relations of parameters of the spatial form are proportions as a method of constructing the unity of spatial quantities. In antiquity, proportional proportionality was considered one of the prerequisites for beauty. Rhythm is a universal means of expressiveness for any artistic form. The rhythm is based on the repetition in space of elements and ratios at commensurate intervals. The simplest regularity of rhythm is the equality of forms and intervals. This order is called the meter. An example of this is the arrangement of columns in a classical portico. Comparison of various metric series in the composition can serve as an expression of monumentality, tranquility, and scale. Rhythm as the law of connection between elements makes it possible to build the unity of the composition. A large number of rhythmically changing elements and forms, with their large length and long-term perception, can, similar to the 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 other similar techniques that complicate the rhythmic pattern. The traditional category of composition is tectonics. The continuously expanding range of tectonic concepts associated with it constitutes the semantic basis. The tectonicity of forms was often identified with the literal coincidence of form and construction. However, this special case tectonics, which found its confirmation 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 the change in the ratio between the main elements of the composition (for example, the height of the column and the magnitude 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 with the help of construction. The rhythm acquires 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, texture have a 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 object and purpose of creativity, the types of composition differ in terms of the spatial arrangement of elements associated with three types of their perception, other dimensions, although they can be classified as linear, nevertheless, are solved by the methods of volumetric composition ( freestanding objects, volumes different types ). Forms in which the height, on the contrary, is contrastingly small in relation to other parameters, although they are of a plane nature, are also solved by the methods of volumetric composition. Revealing the bulk of the form depends on the nature of the division of its surface and mass. With shapes formed by both curved surfaces and flat ones, mating at an angle, the clarity of volumetricness depends on the display of horizontal articulations of the shapes. In classical examples of volumetric composition, horizontal articulations, together with the active removal of the cornice, completing the object, reveal the mating surfaces, that is, the integral volume. Revealing the bulk of the composition is achieved not only by dividing the mass, but also by comparing contrasting volumetric elements, conjugating rectangular and curvilinear shapes that surround the main volume or conjugate with it. The solution to a volumetric composition is not limited to revealing its volumetricness, but is also due to the articulation of its surface and mass based on proportions, relationships and rhythm, thanks to which the expressiveness of the unity, scale, tension and dynamics of a volumetric composition is achieved. The division of the volume follows both along the surface and as a whole in terms of mass, a combination of those and other divisions is possible. In the case of equivalence of divisions of all sides of the volume, a centrally symmetric composition is formed (Villa Rotunda, Corner Tower of the Moscow Kremlin). Subdivisions can express the difference between the sides of the volume, subordinating them to each other. A striking example is the club. Rusakov in Moscow by K. Melnikov, with its three correctly located halls, manifested in three large dynamic volumetric consoles on the main volumetric form. One of the main questions of the unity and integrity of the 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 focuses on the main points of view, the main approaches (highways, streets, squares). The position and character of the compositional center determines the character of the composition as a whole. So, with the equivalence of all subordinate forms surrounding the center, a composition with a vertical axis of symmetry is formed ("Rotunda" vila). With the equivalence of elements 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 the volumetric composition is such that it is surrounded by unequal volumes and elements, then the composition is determined by the balance of all the elements and properties of the form (Erechtheion). The three-dimensional composition can combine the principles of symmetry and asymmetry (St. Basil's Cathedral). In complex volumetric compositions, there may be two or more compositional centers, subordinate to each other and orienting the composition to several main approaches from different sides.

A deep-spatial composition is characterized by the relationship of surfaces, volumes, spaces between them, located in three coordinates and designed for perception when moving in depth. The characteristic and dominant feature of such a composition is not one three-dimensional form or a group of them, but also the space formed by their regular arrangement. So, the space of St. Peter's Square is limited on both sides by the colonnade of L. Bernini and is closed in the depths by the facade of the cathedral. The deep space of the Athenian Acropolis is built in 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, decided as a relatively closed space through which the main open space of the Acropolis opens up, 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 complex of the Acropolis is conceived and resolved as an asymmetric spatial composition perceived in motion. The Acropolis was conceived and designed in such a way that when moving in the space of the ensemble, 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 paintings of the Acropolis composition were designed to move along a certain route and at certain points of perception. The unity of the spatial composition was moved 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 countdown of the duration of space. The number of elements dividing 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) the method of imposition or obscuration (overlapping): when dividing the deep space by linear, planar or volumetric shapes located frontally with respect to the main points of the object, the shape foreground can partially obscure the forms located on subsequent plans. Such an overlap or occlusion of the forms reveals their relative position. This method of constructing space was already 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 an open space of streets, squares of ensembles. The arrangement of planes, as it were, going to one point, creates the impression of a deeper space. And, around the form;

4) when moving in depth. All three types of perception are inherent in any work, with the dominance of one or another.

In accordance with the accepted feature, 3 types of composition should be distinguished: frontal, volumetric and depth-spatial. A characteristic feature of the frontal composition is the construction of spatial form elements and their compositional connection along two frontal coordinates, while the third, deep one, has a subordinate meaning. The frontality of the composition is determined by the orientation towards the main points of view on the one hand. The simplest form of a frontal composition is a flat rectangular surface located frontally towards the main point of view. The elements of such a composition in their mutual arrangement do not receive development in depth, being only a relief, dividing the surface. Typical for a frontal composition is the nuance relationship between the main values ​​(length and height). The sharp dominance of the height turns the composition into a volumetric one, although it has a pronounced frontal character. A striking example of this type of composition is St. Mark's Tower in Venice. Surfaces with a predominance of horizontal over vertical dimensions retain the character of frontality, even with significant contrast between the main values. A rectangular silhouette is typical for a frontal composition. A trapezoidal silhouette is perceived as an inclination of the frontal surface towards or away from the viewer; an oblique or curved silhouette deforms the frontal surface, visually taking it into depth. Articulations 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. Strengthening the color intensity, relief or texture, of any element, creates tension that destroys the frontal composition.

Form divisions can reveal the main elements in relation to subordinates, bind all elements into a kind of unity, form such qualities of a composition as tension, scale, dynamism or staticity, etc. horizontal divisions limit surfaces, highlight dominant parts, determine the difference between top and bottom , their weight interaction and subordination. Vertical articulations also compositionally limit the frontal surface, highlight the dominant part. The division of the frontal surface is possible by introducing into it closed form, a complex complex of forms, which contributes to the selection of the compositional center. The size, type and position of the introduced closed form in relation to the main and its boundaries determine the nature of the composition, give it the qualities of static or dynamism, direction, scale, etc. combination different types articulation allows you to solve complex problems of composition. Big number articulations of the frontal composition can be reduced to a smaller number of basic, clearly readable articulations by establishing, their subordination and grouping of the ratio of surface elements, subordinate elements can have their subordinate articulations. Thus, a system of two, three or more degrees of subordination of the frontal composition is created.

The method of subordination of a large number of articulations of the composition reveals its main part, secondary accents, beginning and end. Depending on the dominance of vertical or horizontal articulations in the lower or upper parts of the frontal surface, there is a feeling of upward movement, completeness or stability of the composition. Subdivisions can be linear or embossed, differ in density, color, texture.

In order to correctly use words borrowed from other languages ​​in your speech, you need to understand well their meaning.

One of the words often used in various fields of activity, mainly in art, is "composition". What does this word mean and in what cases is it used?

Word "composition" borrowed from Latin, where "Compositio" means composing, adding, linking a whole from parts. Depending on the field of activity, the meaning of this word can acquire certain semantic variations.

For example, process chemists are well aware of composite materials, which are a composite of plastic and mineral chips, sawdust or other natural material. But most often this word is found in descriptions of works of art - painting, music, poetry.

Any art is an act of synthesis, as a result of which a work is obtained that has the power of an emotional impact on viewers, readers or listeners. Composition is an important component of creativity in relation to the organizational principles of the art form.

Its main function is to impart integrity to the connection of elements and to correlate individual parts with overall design the author. For each type of art, composition has its own meaning: in painting it is the distribution of shapes and color spots on canvas or paper, in music - a combination and mutual arrangement musical themes and blocks, in literature - the structure, rhythm of the text, etc.

Literary composition is the structure of a literary work, the sequence of the arrangement of its parts. It serves for the best expression of the general idea of ​​the work and can use for this all forms of artistic depiction available in the literary baggage of a writer or poet.


Important parts literary composition are the dialogues and monologues of his characters, their portraits and systems of images used in the work, plot lines, the structure of the work. Often the plot develops in a spiral or has a cyclical structure, large artistic expression Descriptive passages, philosophical digressions and interweaving of stories told by the author differ.

A work can consist of separate short stories, linked by one or two actors, or have a single storyline and narrate on behalf of the hero, combine several plots (a novel in a novel), or have no storyline... It is important that his composition serves for the fullest expression of the main idea or enhances the emotional impact of the plot, embodying everything conceived by the author.

Consider the composition of the poem "Birch" by S. Yesenin.

White birch
Under my window
Covered with snow
Like silver.

The first stanza draws the big picture: the author's gaze from the window falls on a snow-covered birch.

On fluffy branches
With a snowy border
Brushes blossomed
White fringe.

In the second stanza, the description of birch becomes more prominent.


Reading it, we clearly see branches in front of us, covered with hoarfrost - wonderful, fabulous picture Russian winter.

And there is a birch
In the sleepy silence
And the snowflakes are burning
In a golden fire.

The third stanza describes the picture early morning: people have not yet woken up, and silence envelops the birch, illuminated by the dim winter sun. The feeling of calmness and quiet charm of winter nature intensifies.

And the dawn, lazily
Walking around
Sprinkles branches
New silver.

Quiet, windless winter morning imperceptibly turns into the same quiet sunny day, but the birch, like the Sleeping Beauty from a fairy tale, remains. The skillfully constructed composition of the poem is aimed at making the readers feel the charming atmosphere of a winter Russian fairy tale.

Composition in musical art extremely important. A complex piece of music is based on several basic musical themes, the development and variation of which allows the composer to achieve the emotional effect desired by the composer. The advantage of music is that it acts directly on emotional sphere listener.

Consider as an example the familiar to everyone musical composition- Hymn Russian Federation... It begins with a powerful opening chord, which immediately sets the listener in a solemn mood. The majestic melody floating above the hall awakens in memory the numerous victories and achievements of Russia, and for the older generations it is a link between present-day Russia and the USSR.


The words "Glory, Fatherland" are reinforced by the sound of the timpani, like a burst of jubilation of the people. Further, the melody becomes more melodious, including Russian folk intonations - free and wide. In general, the composition awakens in listeners a sense of pride in their country, its endless expanses and stately history, its power and unshakable fortress.

Composition I Composition (from Latin compositio - composition, composition)

1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. K. is the most important organizing component of an artistic form, which gives a work of unity and wholeness, subordinating its elements to each other and to the whole. The laws of K., which develop in the process of artistic practice, of aesthetic knowledge of reality are, to one degree or another, a reflection and generalization of objective laws and interconnections of phenomena. the real world... These patterns and relationships appear in an artistically embodied form, and the degree and nature of their implementation and generalization are associated with the type of art, the idea and material of the work, etc.

To. In literature - the organization, arrangement and connection of heterogeneous components of the artistic form of a literary work. K. includes: the arrangement and correlation of characters (K. as a "system of images"), events and actions (K. Plot a) , inserted stories and lyrical digressions (K. of non-plot elements), ways or perspectives of narration (actually narrative K.), details of the situation, behavior, experiences (K. details).

Methods and methods of K. are very diverse. Comparisons of events, objects, facts, details that are distant from each other in the text of the work sometimes turn out to be artistically significant. The most important aspect To. Is also the sequence in which the components of the depicted are introduced into the text - the temporary organization of a literary work as a process of detection and deployment artistic content... And, finally, K. includes the mutual correlation of different sides (plans, layers, levels) literary form... Along with the term "K." many modern theorists use the word "structure" in the same sense (see The structure of a work of art).

Being himself "... an endless labyrinth of couplings ..." (see LN Tolstoy, On Literature, 1955, p. 156), K. completes the complex unity and integrity of the work, becoming the crown of the artistic form, which is always meaningful. “Composition is the disciplining force and organizer of a piece. She is instructed to ensure that nothing breaks out of the way, into its own law, namely, it mates into a whole and turns in addition to his thought ... Therefore, she usually accepts neither logical deducibility and subordination, nor a simple life sequence, although it happens to her similar; its goal is to arrange all the pieces so that they are closed in the full expression of the idea "(" Theory of Literature ", [book. 3], 1965, p. 425).

Each piece combines both general, "typical" methods for a given genre, genre or direction of K. (for example, three-fold repetitions in fairy tales, recognition and silence in dramas of "intrigue", a strict stanza form of a sonnet, retardation in epics and dramas), and individual, peculiar to a given writer or a separate work(for example, in Leo Tolstoy's story "Hadji Murad" the leading principle of characters and their systems is polarity, including the deliberately imaginary one: Nicholas I - Shamil).

V modern literary criticism there is also a more local use of the term "K." In this case, a unit, a component of K. is such a "segment" of a work (text), within which one method or perspective of an image is preserved - a dynamic narration or a static description , characterization, Dialogue, Lyrical digression, etc. The simplest units are added to more complex components (an integral sketch of a portrait, mental state, call playback, etc.). An even larger and more independent component is the stage (in the epic, drama). In the epic, it can consist of a number of forms of representation (description, narration, monologue); it can include a portrait, landscape, interior; but throughout its entire length, one perspective is preserved, a certain point of view is maintained - the author or the character-participant, or an outside observer-storyteller; otherwise: each scene is "depicted" by someone's eyes. It is the combination of forms of presentation and certain "points of view", their interconnectedness and unity, and constitute K. in this sense.

The poetry of poetry is peculiar, especially lyrical; it is distinguished by strict proportionality and interdependence of metric-rhythmic units (Stop, verse, stanza), syntactic segments and intonations, as well as direct semantic units (themes, motives, images; see Verse, Poem, Poetry and Prose).

In the literature of the 20th century. the activity of the compositional principle is increasing, which is reflected in the emergence of the concept of Montage (first in relation to cinema, then to theater and literature).

V plastic arts the composition unites particular aspects of the construction of an artistic form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color scheme, etc.). K. organizes both the internal construction of the work and its relationship with the environment and the viewer.

K. in architecture is based on a harmonious correlation of ideological and artistic principles, functional purpose, design features, and the town-planning role of buildings, structures and their complexes. K. determines the appearance, planning and volumetric-spatial construction of the city as a whole or of an architectural ensemble, a separate building or structure. The principles of construction, where they appear in organic unity with the principles of construction artistically reflected in them, together form the structural relationship of load and support, the architectonics of the structure. K. in the visual arts is a concrete development of the ideological and plot-thematic basis of a work with the distribution of objects and figures in space, the establishment of the ratio of volumes, light and shadow, spots of color, etc. Types of K. are divided into "stable" (where the main compositional axes intersect at right angles in the geometric center of the work) and "dynamic" (where the main compositional axes intersect at an acute angle, diagonals, circles, and ovals predominate), "open" (where centrifugal multidirectional forces, and the image is fully revealed to the viewer) and "closed" (where centripetal forces win, pulling the image to the center of the work). Stable and closed types of K. predominate, for example, in the art of the Renaissance, dynamic and open - in the art of the Baroque. In the history of art, an important role was played by the addition of generally accepted compositional canons (for example, in ancient Eastern, early medieval art, in art High Renaissance, classicism), and the movement from traditional rigid canonical schemes to free compositional techniques; so, in the art of the 19-20 centuries. an important role was played by the desire of artists for a free K., corresponding to their individual creative characteristics.

2) Musical, pictorial, sculptural or graphic work, the end result of the creative work of a composer or artist.

3) A complex work of art, including various types of arts (for example, literary and musical K.).

4) Composing music. In musical educational institutions(schools, conservatories) is taught as a special academic subject (in Soviet musical educational institutions it is called a composition). Composition training is closely related to the study of such musical-theoretical subjects as Harmony, Polyphony, Instrumentation. , analysis of musical works.

Lit .: Zhirmunsky VM, Composition of lyric poems, P., 1921; Tomashevsky B., Theory of Literature. Poetics, 6th ed., M. - L., 1931; Alpatov MV, Composition in painting, M. - L., 1940: Theory of literature, [book. 2], M., 1964, p. 433-34, [book. 3], M., 1965, p. 422-42; Lotman Yu. M., The structure of literary text, M., 1970; his, Analysis poetic text, L., 1972; B. Uspensky, Poetics of composition, M., 1970; Timofeev L. I., Fundamentals of the theory of literature, M., 1971; Schmarzow A., Kompositionsgesetze in der Kunst des Mittelalters, Bd 1-2, Bonn-Lpz., 1920-22.

V. E. Khalizev, V. S. Turchin.

Big Soviet encyclopedia... - M .: Soviet encyclopedia. 1969-1978 .

Antonyms:

See what "Composition" is in other dictionaries:

- (from the Latin "componere" to add, build) a term used in art history. In music, K. is called the creation of a piece of music, hence: the composer is the author of pieces of music. In literary criticism, the concept of K. passed from ... ... Literary encyclopedia

- (from Lat. compositio composition, composition), 1) the construction of a work of art, due to its content, nature and purpose and largely determines its perception. Composition is the most important organizing component ... ... Art encyclopedia

- (lat., this. see the previous word). 1) connection individual items into one whole. 2) the composition from which the fake ones are prepared gems. 3) musical composition... 4) technical expression for various metal alloys. Dictionary… … Dictionary foreign words Russian language

composition- and, w. 1.composition f., Floor. kompozycyja, it. composizione. Claim. Composing, creation of works of art; drawing up what l. Sl. 18. The facade, in which the lower cornice is Doric, and the main middle cornice is the author's own ... ... Historical Dictionary gallicisms of the Russian language

COMPOSITION, compositions, wives. (lat. compositio compilation) (book). 1. The theory of composing musical works (music). He is composing. Composition class in music school. || Musical composition(music). This is very talented ... Explanatory dictionary Ushakova

Modern encyclopedia

Composition- (from the Latin compositio addition, composition), 1) the construction of a work of art (literary, musical, pictorial, etc.), due to its content, character, purpose and largely determines its perception. ... ... Illustrated Encyclopedic Dictionary

In the Frankish state, monetary compensation to the victim for harm caused by the crime. Obtaining K. was prohibited in the Great Ordinance of 1357 ... Legal Dictionary

In the publication, we will consider the concept of composition, types of composition that are widespread in various fields of art, and in some are the basis.

Composition concept

In the Big Encyclopedic dictionary several definitions of this concept are given. Let's consider the main ones based on the scope of application.

The word comes from the Latin "compositio", which means "binding", "composing".

First of all, this is the creation of a certain artistic image or a work that is determined by its purpose, content and nature. Composition is the most important element art forms, which gives integrity and unity to the created work, mutually subordinates its components.

The next two definitions are related to music and art. One of them is interpreted as follows. Composition is painting, musical, graphic or sculpture... It can also be the process of composing music or academic discipline in a music school.

In addition, it may include several different types art.

Now let's start considering the main types of composition in different areas art.

Literature

With this concept, each of us met at school in the classroom visual arts, literature and music. Let us dwell on literature in more detail, since in this area the concept plays a key role for the writer. Consider also the types of composition in the literature.

These include narration, dialogue and monologue, portrait and landscape, plot, description, author's description and digressions, inserted stories and a system of images.

An important role belongs to and among which the following are distinguished:

Exposition (its presence in the work is optional, it allows the writer to notify the reader in advance about events, as well as tune it to the desired wave).

Retrospection, otherwise called "look back". The author plunges us into the past of the heroes to reveal the reasons for what is happening now. This technique is most typical for a story-memory.

The best way to intrigue a piece is to break it up. Readable chapter ends with an intriguing moment, and in the next in question already about something completely different, while the created intrigue remains.

Among the types of composition in the literature, there are two main ones - external and internal. The first involves dividing the text into component parts: prologues, epilogues, chapters, and so on. The second focuses on content: plot, images, speech situations, and so on.

Also, the composition can be reversed (the work begins with final scenes), circular (the end of the work is the scene from which it began), thematic (based on the relationship of the main images) and mirror (based on the symmetry of some images or episodes).

Design

As a rule, there are no certain types of compositions in design. There are means, qualities and properties of the composition, which we will consider.

Means include line, shading, spot, color, chiaroscuro, as well as linear, color and aerial perspective... Artists often use multiple media in their work. For example, line, spot and strokes.

The line is considered the main means. Chiaroscuro is used to convey the volume of objects in the picture. Perspectives are used to create the illusion of space.

Now let us list the qualities and properties of compositions in design: compositional balance, harmonious integrity, symmetry and asymmetry, dynamism and static composition, unity of the character of forms.

Architecture

Composition is also widely used in architecture, and the types of composition are numerous.

It involves organizing the elements of architecture to achieve harmony and unity. The choice of a particular composition is carried out not only on the basis of aesthetic principles, but is also determined by all the requirements for the architectural structure.

Consider the types architectural composition. Volumetric composition performed by building three-dimensional forms. Spatial corresponds to a certain specific space (for example, a hall, room or arena). The deep-spatial composition is based on the unification of several spaces or the division of space into interrelated parts. The volumetric-spatial composition combines volumetric forms with space elements. An example of such a construction is a building plan with a part of the yard. Frontal composition is built in horizontal and vertical coordinates. In high-rise, height prevails over the dimensions of the form on the plan.

The photo

Speaking about composition and types of composition, I would like to pay attention to the popular art form - photography. Every person, be it a professional photographer or an amateur, cares about how to make their photos interesting and expressive. For this, there are several rules for building a composition.

The rule of thirds says that the frame is divided into nine parts, that is, a grid is obtained. Thus, the most important objects are located at the intersection of lines or along them.

The rule of the "golden ratio". There are points in the composition that most attract a person's attention, they are at a distance of 5/8 and 3/8 from the edges of the frame. There are 4 such points in total.

There are also diagonal and diagonal golden ratio rules.

Conclusion

Composition and types of composition are the main topics in the study of fine arts as well as architecture. Without knowledge of the rules for constructing objects, objects and spaces, as well as the ability to apply certain techniques, it is impossible to create a masterpiece.