古人云:无规矩不成方圆。这规矩即“格”,是规律性的东西。扬派的“岫云”、苏派的“三台六托一顶”、川派的“掉拐对弯”、徽派的“滚龙抱柱”……都是一种桩景的传统美。它们都有过黄金时期,但繁衍到一定的时候,这种格律式样却又阻碍着桩景的发展。不破不立。今天一些成功的作品都贵在造型“奇险”。“险”贵于胆。当然这个胆是在继承和修养中获得。画忌四方,桩忌死曲。方正、死曲佳为90°直角,是前人创作构图中的大忌。国画大师潘天寿偏善用四方,90°直角突破纵横,化实为虚、将虚从实。所以他的作品险峻跌宕,动人心魄、气势迫 Old saying goes: no rules no success. This rule that “grid” is a regular thing. The “Xiuyun” of the Yangpai School, the “Three of the six Leopards” of the Supai School, the “Fallen onto the Bend” of the Chuan School and the “ . They all had the golden age, but when they multiply to some extent, this metrical pattern hindered the development of the piles. Not broken without breaking. Today, some successful works are expensive in modeling ”Odd Adventure.“ ”Insurance" expensive than the gall. Of course, this guts are obtained in inheritance and cultivation. Avoid painting the Quartet, pile avoid dead song. Founder, dead song good for 90 degrees at right angles, is the predecessor of the composition of the taboo. Pan Tianshou, a master of traditional Chinese painting, prefers to use the Quartet to break the aspect at 90 ° at right angles. So his works steep, moving, imposing manner