臺灣博碩士論文加值系統

提要 二十世紀初抽象藝術(Abstract art)興起，使藝術的表現有
新的形式。自其興 起至今，抽象藝術在各派藝術家的創作下產生眾多的
風貌。就其表現的形式而言，可以與 自然形象的關係密切與否區分為二
。其一是由自然形象簡化的形式，如克利(Klee)的作品 ；其二是與自然
形象完全無關的，如康定斯基(Kandinsky)的作品。就其所欲表現的內涵
而言，二十世紀初的抽象藝術意欲藉抽象的形式呈現精神性的內涵，如馬
勒維奇 (Malervich)等人的作品，而五十年代的抽象表現主義則強調媒
材所涵帶的感性。 「蒙德里安(Mondrian)的新造形風格(
Neoplasticism)」是二十世紀初藉由抽象的形式 呈現精神性(the
spiritual)內涵的抽象藝術。對於此一畫家的研究，有專從其形式分析
者，如森柏(Kermit Champa)、伯瓦(Y. A. Bois)等人，亦有從其生平與
創作歷程加以分 析者，如布洛坎普(Carel Blotkamp)等。這些分析對於
蒙德里安的研究各有其貢獻，然而 對於新造形風格特殊的精神性內涵與
抽象形式，似乎欠缺通盤的研究與比較。有鑑於此， 對於蒙德里安的研
究，也就以畫家的文字著作及繪畫作品兩個層面來加以探討，希望藉由
文字與繪畫作品的對比可以更清楚地勾勒其所欲呈現的內涵。由於〈論繪
畫的新造形〉 是論述新造形風格理論的第一篇完整的著作，因而成為本
文的另一研究對象。 本文分析的架構使用夏畢洛(Meyer Schapiro)
描述風格的三個面向：形式元素(formal element)、形式關係(formal
relationship)、表現(expression)貫穿對畫家文字著作與 繪畫作品的
研究，藉此以對比由「形式元素」與「形式關係」所構成的「形式」，以
及 「表現」所構成的「內涵」。經由〈論繪畫的新造形〉一文與新造形
風格作品(1921-1944) 以及先前的作品(1912-1914, 1917-1921)的比較
，我們了解蒙德里安的創作是先有內涵再以 各種藝術上的造形方法配合
哲學、信仰的觀念，協助形成理論的發展，接著再由創作活動 去修改並
實踐形式主張，而一切形式元素固定以及形式關係確立後，新造形風格就
正式形 成。整體而言，蒙德里安在繪畫創作上以「形式關係」作為「形
式元素」與「內涵」間的 橋樑，這種指射關係十分依賴創作者在文字上
對「形式元素」所賦予的特殊意義，而其文 字著作則是其信仰的直接闡
述。這顯示蒙德里安在繪畫與理論的創作上濃厚的主觀性。

Abstract The Abstract art, which firstly appeared in
the beginning of 20th century, was a new form of art
expression. From the beginning of this cent- ury, there has
been various styles of abstract art. By the formal elements, we
could divide the abstract art into two categories: first, those
with the for m simplified from objects in nature; second, those
without. In this content, Klee belongs to the first and
Kandinsky, the second. Also, the expression of various artists
are quite different. Some abstract art styles in the early
20th century put emphasis on the spiritual content. And the
works of abstract expressionism focus on the sensation brought
by the medium the artists used on the work. The
"Neoplasticism" of Mondrian is the abstract art with the
spiritual content. There have been various studies on Mondrian.
Some deal with the form of his art, while others deal with the
comparison of life and creation. These studies contribute a
great deal in the research of Mondrian. What is missing is that
there has no such research which combines both the spiritual
content and the abstract form. Therefore, we want to discuss
this artist from two approaches: his writings(theory), and his
paintings. By these two aproaches, we try to depicts the
spiritual content. "The New Plastic in Painting" because of
its thoroughness, therefore, is another focus of this research
in addition to the neoplastic paintings. What we are
concerned here are the exact expression of "form" and "content"
in "The New Plastic in Painting" and neoplastic painting.
Since, we will pay attention in both materials in three aspects:
"the formal elements," "the formal relationship," and "the
expression," which derived from Meyer Schapiro's description of
style. By these approaches, we know the creative process of
Mondrian. He made use of various art forms in the art history
to express the spiritual content, which was already confirmed by
himself. And generally speaking, for Mondrian, "the formal
relationship" in painting is the bridge between the two ends of
"formal elements" and "content." The construction of this
bridge depends quite a lot on the writings of the artist. His
writings are the direct expression of what he believes without
the process of argumentation. Both situations show that
Mondrian is very subjective in paintings and writings.