蒙德里安常以垂直、水平的線條交錯，部分平面塗上紅、黃或藍色，加上黑、灰、白之間的色調。他強調新造型藝術要在物質氛圍中實現，重視真實世界的內容。他不斷嘗試結合繪畫與音樂、建築，指向巴黎都會生活的內容，包含視覺經驗的街景、海報、櫥窗等，與聽覺經驗的新聲音、新節奏。第一次大戰後十年之間，他遭逢巴黎的文化民族主義—「回歸秩序」的思潮提倡古典主義線描與民族音樂。蒙德里安的色彩與音樂理論顯然回應文化同一性的議題，但目前歐美學界尚未有相關的深入研究。本文重新閱讀蒙德里安的藝術理論，分析他在1911－1930年的色彩與線條的實驗，以及相關的巴黎藝術評論，歸納他在此期的作品特質：色彩在構圖上的主導地位，以及色彩與聲音對應，作為結合繪畫與音樂的主要途徑。他以色彩與聲音的組織關係，呈現綜合藝術的新精神，追求秩序與自由的均衡，他的巴黎時期作品具有明確的都市規劃構想與國際主義特色。

Mondrian’s work features interwoven vertical and horizontal lines, and rectangle surfaces colored in red, yellow, black, gray or white. He promoted Neo-plastic art to be realized in material environment, and transferred content from the real world. He continuously experimented in painting the fusion of musical and architectural elements, which embodied the urban life of Paris—visual experiences of streets, posters, shop windows, and acoustic experience of new sounds and rhythms. During the decade after World War I, he confronted the cultural nationalism in Paris, formulated by Call to Order with an emphasis on classical linearity and national music. Mondrian’s theories of color and music evidently respond to the issue of cultural identity. However, the question has not been fully investigated to date. The present essay offers a pluralist analysis of his experiments in color and line during the years 1911-1930, and contemporary art criticism. The author contends that Mondrian’s postwar work is based on the determinant role of color in composition, and the correspondence between color and sound is construed in order to combine painting and musicality. He conceived organized relationships of color and sound as the new spirit of the new art of synthesis or synesthesia, balancing rder and freedom. His Parisian work is characterized by an ideal of urban planning and internationalism.

蒙德里安; 《風格》; 《新精神》; 巴黎; 二十世紀

Mondrian; De Stijl; L’Esprit Nouveau; Paris; Twentieth Century