There is no way to determine what was intended for certain. If there is something that blatantly follows a compositional guide you could assume that was intended. But it could also be unintentional in that the composer knows nothing about compositional guides/theory and they just recognized a good composition.
There are only two primary compositions; dynamic imbalance and static balance. And most subjects will fall into one category naturally. But almost all of the compositional guides are for dynamic imbalance. And it almost doesn't matter which one you use because they all result in a very similar focus point. This picture is from a video I made on compositional guides; notice how the focus points all cluster in one area.
This is my take on composition. I prefer to think of composition in more basic terms and Gestalt Principles. When a human enters/views a scene they are instinctually concerned with potential threat first. And that is going to be what is closest, immediately in front, or incongruent/threatening. In terms of an image that is going to be low center and contrast. If there isn't something immediately in your field of sharp focus (~ 1˚- 2˚ central FOV) that draws your attention, and there isn't some point of contrast within your peripheral "identification" FOV (~ 45˚ - 60˚) that draws your attention; then you will start to scan for other details; or after the first attention draws are identified/categorized. (Not coincidentally, a standard lens and the standard viewing condition also fall within the same 45˚ horizontal/60˚ diagonal identification FOV)
Contrast can be color, luminance, a strong break/border, or an interruption. Basically, anything that is substantially different from the rest that needs to be identified and categorized separately.
Leading lines are a bit different, and they come after the primary view/search has been done. I.e. a strong point of contrast, or something central, will be prioritized first. As a line leading the viewer "into the image," that would be from low to high (near to far in monocular visual cues). And leading "into and across" would be primarily low left to upper right for western readers. Otherwise a leading line is really just more of a pointer... it's not really leading the viewer into/through an image, it's just saying "look here dummy." That's why a leading line from upper left to lower right usually just doesn't feel quite right... it's just pointing to something you've probably already identified.
If an image is heavily dependent on any of those things one can deduce that the composition is largely based upon it; whether knowingly or not.
