康定斯基 (Wassily Kandinsky)
【Point and line to plane】（点线面）
Kandinsky analyses in his writings the geometrical elements which compose every painting, namely the point and the line, as well as the physical support and the material surface on which the artist draws or paints and which he calls the basic plane or BP. He doesn’t analyze them on an objective and exterior point of view, but on the point of view of their inner effect on the living subjectivity of the observer who looks at them and lets them act on his sensibility.
The point is, in practice, a small stain of color put by the artist on the canvas. So the point used by the painter is not a geometric point, it is not a mathematical abstraction, it possesses a certain extension, a form and a color. This form can be a square, a triangle, a circle, like a star or even more complex. The point is the most concise form, but according to its placement on the basic plane it will take a different tonality. It can be alone and isolated or put in resonance with other points or lines.
The line is the product of a force. It is a point on which a living force has been applied in a given direction, the force applied on the pencil or on the paint brush by the hand of the artist. The produced linear forms can be of several types: a straight line, which results from a unique force applied in a single direction, an angular line, which results from the alternation of two forces with different directions, or a curved or wave-like line produced by the effect of two forces acting simultaneously. A plane can be obtained by condensation, from a line rotated around one of its ends.
The subjective effect produced by a line depends on its orientation: the horizontal line corresponds to the ground, on which man rests and moves; it possesses a dark and cold affective tonality similar with black or blue. The vertical line corresponds to height which offers no support; it possesses a luminous and warm tonality close to white and yellow. A diagonal possesses by consequence a more or less warm or cold tonality according to its inclination according to the horizontal and to the vertical.
A force which deploys itself without obstacle as the one which produces a straight line corresponds to lyricism, while several forces which confront or annoy each other form a drama. The angle formed by the angular line possesses as well an inner sonority which is warm and close to yellow for an acute angle (triangle), cold and similar to blue for an obtuse angle (circle) and similar to red for a right angle (square).
The basic plane is, in general, rectangular or square, thus it is composed of horizontal and vertical lines which delimit it and define it as an autonomous entity which serves as support to the painting, communicating its affective tonality. This tonality is determined by the relative importance of horizontal and vertical lines, the horizontals giving a calm and cold tonality to the basic plane, while the verticals give it a calm and warm tonality. The artist possesses the intuition of this inner effect of the canvas format and dimensions, which he chooses according to the tonality he wants to give to his work. Kandinsky even considers the basic plane as a living being that the artist "fertilizes" and of which he feels the "breathing".
Every part of the basic plane possesses a proper affective coloration which influences the tonality of the pictorial elements that will be drawn on it, and which contributes to the richness of the composition which results from their juxtaposition on the canvas. The above of the basic plane corresponds to the looseness and to lightness, while the below evokes the condensation and heaviness. The work of the painter is to listen and to know these effects in order to produce paintings which are not just the effect of a random process, but the fruit of an authentic work and the result of an effort toward the inner beauty.
如果你需要康定斯基其他作品的介绍，可以来找我。。

点
1、 认识点
点，《辞海》的解释是：细小的痕迹。在几何学上，点只有位置，而在形态学中，点还具有大小、形状、色彩、肌理等造型元素。在自然界，海边的沙石是点，落在玻璃窗上的雨滴是点，夜幕中满天星星是点，空气中的尘埃也是点。
2、 点的表情
具体为形象的点，可用各种工具表现出现，不同形态的点呈现出不同的视觉特效，随着其面积的增大，点的感觉也将会减弱。如我们在高空中俯视街道上的行人，便有“点”的感觉，而当我们回到地面，“点”的感觉也就消失了。
在画面空间中，一方面点具有很强的向心性，能形成视觉的焦点和画面的中心，显示了点的积极的一面；另一方面点也能使画面空间呈现出涣散、杂乱的状态，显示了点的消极性，这也是点在具体运用时值得注意的问题。
点还具有显性与隐性的特征，隐性点存在于两线的相交处、线的顶端或末端等处。
3、 点的构成
(1)、 有序的点的构成：这里主要指点的形状与面积、位置或方向等诸因素，以规律化的形式排列构成，或相同的重复，或有序的渐变等。点往往通过疏与密的排列而形成空间中图形的表现需要，同时，丰富而有序的点构成，也会产生层次细腻的空间感，形成三次元。在构成中，点与点形成了整体的关系，其排列都与整体的空间相结合，于是，点的视觉趋向线与面，这是点的理性化构成方式。
(2)、 自由的点的构成：这里主要指点的形状与面积、位置或方向等诸因素，以自由化、非规律性的形式排列构成，这种构成往往会呈现出丰富的、平面的、涣散的视觉效果。如果以此表现空间中的局部，则能发挥其长处，比如象征天空中的繁星或作为图形底纹层次的装饰。
4 、点与线的关系
点动成线。
线
1、认识线
线是点运动的轨迹，又是面运动的起点。在几何学中，线只具有位置和长度，而在形态学中，线还具有宽度、形状、色彩、肌理等造型元素。画家克利在包豪斯授课期间，曾这样给线下了定义:线就是运动中的点。更为重要的是他把线形象地分成三种基本类型：积极的线、消极的线和中性的线，积极地线自由自在，不断移动，无论有没有一个特定的目的地；一旦有哪条线临摹出了一个连贯一致的图形，它就变成了中性的线；如果再把这个图形涂上颜色，那么这条线就又变成了消极的线，因为此时已经由色彩充任了积极地因素。（见弗兰克·惠特福德《包豪斯》）
从线性上讲，线具有整齐端正的几何线，还具有徒手画的自由线。物象本身并不存在线，面的转折形成了线，形式由线来界定的，

“点”应该是个更抽象、更相对的概念

点可以吸引焦点，而又没有运动倾向，更稳定。

绘画不只是“空间的艺术”，它其实也能表达“时间元素”。

点不包含任何“时间元素”，类似于音乐中对定音鼓或三角铁的猛然一击。
“点”在舞蹈中的应用：

芭蕾舞中的足印/头、现代舞中的头和四肢，短暂的制空也是时间上的一个点。

“点”在音乐中：

钢琴由不同声调的“点”构成。
角线分类：a. 45°锐角；b. 90°直角；c. 135°钝角；d. 不规则角

角线的本音：

a. 直线的声音（两条直线）；

b. 角外的张力音（角尖戳出去的力）；

c. 角内的合力音（角咬合的力）；

角线与颜色：

角越尖锐，温度越高。

圆：曲线生长的内力与外力相等

螺旋线：曲线生长的内力均匀超过外力
曲线的粗细影响张力方向。◜下粗上细时，有上升的张力。

时间：

记谱：

（音乐的可复制性其实决定了它五线谱的诞生。但抽象艺术相比于现实艺术，应当是更容易找到“记谱”的。比如商标、logo等，也是可复制的。）

对“不精确表现”的敏感程度：诗歌 > 音乐 > 绘画
自然：

自然是天然的“构成”。人对于“美”的概念可以说来自于自然，因为人本身也是来自于自然。

经济性：

以最低付出获得最佳效果。
横、纵长方形的基面的冷暖特质也不同

基面上部：松散、轻盈。

在这个空间中，出现任何加重的元素，都会显得很突出。

基面下部：紧密、厚重以及约束

运动的自由亦非常有限，约束的声音达到最大化。

利用基面上下部的特性，可以强化或调和。

边界：

相对性：

基面与元素：

对角线：

对角线 ╱ 的张力比 ╲ 的张力更复杂。

流派：

边线的影响：
夹角变化：

圆形：

质感：

基面是物质性的（帆布、石膏、纸、石头、玻璃等）

基面的质感特质与元素特性可以相互强调或相互对抗、调和
读后感：

一些抽象艺术的理论知识，读的似懂非懂。

大致明白了基面里面有“力场”似的东西，并且点线面又分别作为“元素”有自己的张力特质，它们之间、它们与力场之间相互作用，产生不同的表现力。

艺术需要直觉，但更需要理性的理论指导，抽象艺术尤其如此。