从中世纪到文艺复兴,方形画面一直是绘画所采用的主要形制,有评论家认为:方形是一个古典的画面形制。方形有其特有的审美特征与结构特点:从几何学的角度来看,方形是矩形的特殊形式,是一个被左右的外力压缩了的矩形。方形的形式是在一个缩短的空间中产生的一种特殊情况。当矩形的上下与左右线长短接近时就获得了一个视觉意义上的方形,完全一样长时几何意义上的方形(正方形)便应运而生,由于正方形叫条边等长,因此丧失了一个基本的造型需要——节奏,所以在方形的画而中,画面中力的运动显得尤其重要。我们知道,运动性首先取决于比例,矩形通过比例上的改变从而获得了较方形更大的张力。在正方形中由于垂直轴和水甲轴上的力和两条对角线上的力都是平衡的,(正是出于这点考虑,康定斯基将 From the Middle Ages to the Renaissance, the square picture has always been the main shape used in the painting. Some critics think that the square is a classical picture formation. Square has its own unique aesthetic characteristics and structural features: From a geometric point of view, the square is a special form of a rectangle, is a left and right external compression of the rectangle. A square form is a special case of a shortened space. When the rectangle up and down and left and right line length close to obtain a visual sense of the square, exactly the same long-term geometric sense of the square (square) came into being, because the square is called the same side of the bar, so the loss of a basic The shape needs - rhythm, so in the square picture, the movement of force in the picture is particularly important. We know that mobility depends first and foremost on the scale, and the rectangle gets a greater tension than the square by a proportional change. In the square, due to the forces on the vertical axis and the water-arm axis and the forces on both diagonals being balanced (it is for this reason that Kandinsky