在设计领域中蒙德里安可以与毕加索和马蒂斯相提并论,然而其作品在艺术领域却常被看作纯粹形式的演变,装饰性大于艺术性。作品中一丝不苟的线条、合理的色彩比例客观上掩盖了蒙德里安对世界本质思考的观念。法国后现代主义哲学家吉尔·德勒兹的“块茎”思维打破了西方原有的树状思维模式,这一向无数方向蔓延的思维为我们提供了一个重新解读蒙德里安的新途径。 Mondrian can be compared to Picasso and Matisse in the field of design, yet his work is often seen as a purely formal evolution in the field of art, more decorative than art. The meticulous lines in the works, the reasonable proportion of colors objectively obscure Mondrian’s conception of the essence of the world. The “tuber” thinking of the French postmodernist philosopher Gilles Deleuze broke the original tree-like thinking in the West and the thought that spread in countless directions provided us with a new way to re-interpret Mondrian.