伯里曼撰写的、在20世纪四五十年代已经传入中国的以图像学的方法解释人体造型，并用几何图形的穿插方式讲解复杂的人体结构、榫合关系的艺用人体结构教程，无疑是不可替代的最深刻、 通俗、简明的经典绘画理论技法书。 本书并不囿于原书的格式，中国美术学院教授蒋跃将自己从学生时代便开始研读伯里曼图书的个人研读的心得体会，以及在中国美术学院 30 余年的教学体会，融入每页插图的讲解之中，针对中国的初学者将内容打散后彻底重新编写为“导学版”， 形成真正的经典中的经典。

蒋跃，中国美术学院教授、中国水彩画家协会秘书长、浙江美术家协会主席团成员、副秘书长、浙江水彩画家协会副会长、《美术报》原副社长。多幅作品被俄罗斯政府、挪威使馆、中国国家文化部等收藏。

目录|contents
第一章 概论 ···················.001
第二章 导读 ··················.002
第三章 人体绘画方法 ··················.004
第一节 测量 ······················.005
第二节 人体比例 ·············.007
第三节 绘制人体轮廓的步骤 ············.010
第四章 人体的基本体块 ···············.012
第一节 体块分布 ·················.013
第二节 人体的体积造型 ···········.018
第三节 人体线形与形体变化 ···········.020
第四节 人体的三大体块 ···············.022
第五节 人体的楔入、穿插和咬合关系 ··········.027
第六节 光影与人体的关系 ·············.035
第五章 人体运动时的美感··············040
第一节 人体动态平衡 ····················.041
第二节 人体动态节奏与韵律 ··············.044
第三节 人体动态旋转和扭动 ···········.047
第六章 头部··················052
第一节 头骨 ················.052
第二节 肌肉 ··············.056
第三节 头部的比例 ············.057
第四节 头部的绘画步骤 ···················.060 第
五节 头部的构造 ······················.061
第六节 头部各体块的分布 ··················.065
第七节 头部的形体和面 ···················.069
第八节 头部的立方体结构 ··················.074
第九节 头部的透视 ····················.077
第十节 下颌 ·······················.086
第十一节 脸部表情 ····················.089
第十二节 头部的光影 ···················.091
第七章 五官 ·······················.094
第一节 眼睛 ···················.095
第二节 耳朵 ·····················.097
第三节 鼻子 ·······················.099
第四节 嘴 ·····················.103
第八章 颈部 ····················.106
第一节 颈部的作用 ··············.108
第二节 颈部的肌肉 ·················.109
第三节 颈部的运动 ·················.110
第四节 颈部的正视 ···················111
第五节 颈部的侧视 ··················.113
第六节 颈部的背视 ··················.114
第九章 躯干 ······················.116
第一节 躯干的骨骼 ·····················118
第二节 躯干的肌肉 ···················.119
第三节 躯干正面结构 ···················121
第四节 躯干侧面结构 ···················126
第五节 躯干背面结构 ····················131
第六节 躯干和臀部 ·····················136
第七节 肩胛带 ·······················138
第八节 三角肌 ······················.144
第十章 手臂 ·······················.147
第一节 手臂骨骼 ······················148
第二节 手臂肌肉 ······················.149
第三节 上臂 ·························154
第四节 前臂 ························.162
第五节 肘部 ························.174
第六节 腋窝 ·························178
第十一章 手 ·························179
第一节 手的构造和表现 ····················181
第二节 手腕和手 ······················.185
第三节 手臂和手 ·······················.190
第四节 手背和手掌 ······················.191
第五节 手指 ·························.199
第六节 手指的侧面结构与造型 ···················218
第七节 拳头 ··························.225
第八节 婴儿的手 ·······················.229
第十二章 髋部 ···························230
第一节 髋部的结构 ·····················.230
第二节 髋部的机理 ······················.234
第三节 髋部的活动规律 ·····················.235
第十三章 下肢 ···························237
第一节 下肢的骨骼与肌肉 ·························.239
第二节 大腿 ····················.247
第三节 小腿 ·························252
第四节 膝部的结构与活动规律 ···················.254
第十四章 足部 ···························260
第一节 足部的骨骼与肌肉 ·························.261
第二节 足弓 ··························.262
第三节 足部运动机理 ···············.263
第四节 外展和内收 ····················.264
第五节 足部的内侧面与外侧面 ···················.265
第六节 足部的正面 ························.267
第七节 脚趾 ································.269
第十五章 着装 ···························272
第一节 人体着装动态造型 ·························.273
第二节 人体着装形态的构成 ······················.274
第三节 形体与着装 ··························.276
第四节 褶皱的种类 ··························.282
第五节 形体的表现 ·························.297
第六节 褶皱的韵律 ························.298