郭東榮（Kuo Tong-jong）是台灣當代傑出的油畫家，如今已高齡85 歲，仍勤於創作，一直不斷求新求變，於2 年前（2009）還創作出 一個新的系列：「世界在變」，這個系列目前仍持續創作中。 從「世界在變」系列的技法看來，有一部分採用滴彩（drip）的技法， 這種滴彩的技法是美國抽象表現主義（Abstract Expressionism）畫家 帕洛克（Jackson Pollock, 1912-1956）首創，郭東榮深受他的影響， 也常在言談中盛讚帕洛克發明不用筆的畫法對全世界的繪畫藝術有 很大的貢獻。然而，在郭東榮的畫歷中，得知郭東榮的碩士論文研 究的主題是康丁斯基（Wassily Kandinsky, 1866-1944），可是郭東榮 並不常提及，因而擬深入探討，以了解康丁斯基對郭東榮的影響。 本文直接從「世界在變」作品的內涵對照康丁斯基的繪畫理論來探 討。郭東榮的「世界在變」，很明顯的，就是「點」、「線」、「面」、「色」 的組合，而康丁斯基曾著《點線面》（“Point and Line to Plane”, 1926）一書，仔細分解點、線、面、色這些形式的潛力。「世界在變」 的形與色的張力吻合康丁斯基所謂的「構成」；而且，郭東榮在創作 時，覺得是一種內在心靈與情感的湧現，有如兒童塗鴉般的愉悅，吻合康丁斯基所謂「內在需要」（the inner need）的原則。 經研究發現，康丁斯基的思想應是早已內化在郭東榮的潛意識中。帕洛克對郭東榮的影響是技法上，顯而易見的，郭東榮自己也常談 到的；而康丁斯基對郭東榮的影響是思想上，隱而不顯的，連郭東 榮本身都很少提及的。 本論文完成時，經郭東榮過目後表示，他內心的想法透過本文表達 出來，感到甚為欣悅。

An outstanding contemporary oil painter in Taiwan, Kuo Tong-jong is now aged 85 and is in continual pursuit of innovation and creation; he has created a new series called The World is Changing, which is still undergoing. Viewed from the skills that are adopted by the The World is Changing Series, of which one is the “drip” technique, first created by Jackson Pollock (1912-1956), a painter of Abstract Expressionism. Kuo is immensely influenced by Pollock, and has hugely complimented the “ridding off a paintbrush” technique, considering this technique a huge contribution to the world’s art. However, Kuo’s MA thesis was mainly about Wassily Kandinsky (1866-1944), a figure that was not frequently referred to by Kuo Tong-jong. Hence the paper aims to explore how Kandinsky has influenced Kuo Tong-jong.The current paper sets out to explore the proposition by contrasting The World is Changing Series to the theory initiated by Kandinsky. It is obvious that in The World is Changing Series, paintings are constituted by variations of points, lines, planes and colors while in Point and Line to Plane, published in 1926, Kandinsky made effort to analyze the potentials of point, line and plane. The tension of form and color demonstrated in The World is Changing Series corresponds well to the composition of painting proposed by Kandinsky. In addition, Kuo feels a surge of innermost emotion from his soul when painting, saying it is much like a kid’s scribbling, which corresponds to the principle of “the inner need” by Kandinsky as well. The results of this paper indicate that Kandinsky’s thoughts should have been internalized in Kuo Tong-jong’s subconscious. To put it differently, Pollock has influenced Kuo Tong-jong in his application of skills and techniques, which is obvious and mentioned by Kuo all the time, whereas Kandinsky has enlightened Kuo in thinking, which is not so obvious and thus rarely referred to by Kuo himself, either.