Color education is an important part of the Bauhaus education system. It was founded by John Eaton and developed on the basis of the strict theoretical system of Hungarian-born artists such as Naji, Paul Klee and Kandinsky. Color courses make it possible to combine art and industrial design. ? Setting up color education and even basic courses was not planned in Gropius at first. John Eaton had a unique insight and persuaded Gropius to set up preliminary courses, which was also the reason why Bauhaus was more famous than other schools at that time. The preliminary courses mentioned here soon became a compulsory course in Bauhaus school, and even students who did not perform satisfactorily in the basic courses were not allowed to enter the workshop for training. Preliminary course and workshop training: these two elements are the basic pillars of Bauhaus in Gropius' ideal. However, in 1919, everyone must have thought that this ideal would never be realized. ? Eaton is a master of color art at first, and he often takes this as his signature. The two exercises he requires students to do are particularly important: the first exercise requires students to play with all kinds of textures, figures, colors and tones, and to do both plane exercises and three-dimensional exercises; the second exercise requires using prosodic lines to analyze works of art, in order to let students grasp the inner spirit and performance content of the original works. Eaton also asked his students to observe and interpret the real world. He asked them to describe natural objects-stones, vegetation and the like-which are not the purpose in themselves, but the real purpose is to hone students' visual perception ability and explore and interpret nature. It can be said that. Any exercise designed by Eaton is not an end in itself. They are just a kind of preparatory work, and they are just a step on the road to independence and creativity. Eaton believes that when considering color, it is impossible to separate the graphic factors, and vice versa, because the two are interdependent. It is easiest for people to thoroughly understand those definite geometric figures, whose basic elements include circles, squares and triangles. Every possible graphic is quietly hidden among these graphic elements. People who want to see can see it, but people who don't want to see it can't see it. Graphics are also colors. Without color, there would be no graphics. Graphics and colors are integrated. The colors in the spectrum are the easiest to understand. Every possible color is quietly hidden among them. People who want to see can see, but people who don't want to see can't see ...? Geometric figures and colors in the spectrum are the simplest and most emotional figures and colors, so they are the most appropriate means of expression for a work of art. If there is no color, graphics cannot exist; Graphics can't exist without some relevant context restrictions: it is essential to compare some details. Therefore, the core content of Eaton's theory is the concept of contrast and tension. For the study of color contrast, Eaton chose seven distinct types as its own research basis. These seven types of contrast include: simple contrast between two colors, contrast between a bright color and a dark color, contrast between a warm color and a cool color, and contrast between complementary colors. Eaton also compared the quality and quantity. The purpose of designing these contrast exercises is to discover the basic properties of related colors and give full play to their effects. As a result of Eaton's thinking about color, he designed a color ball instead of a color circle. He said that this color ball is "the most effective shape to express color order". It also "enables people to show the law of complementary colors, illustrate all the basic relationships between these complementary colors, and illustrate their relationship with black and white". Around the "equator" of colored balls, the color distribution changes from red. For Eaton, the nature of color is definitely not limited to some optical properties. He believes that color conveys a universal emotional state to people-graphics also convey similar information. After studying three basic geometric shapes, Eaton found that they have some similarities with specific colors. This similarity refers to emotional and spiritual similarity. For example, a square symbolizes peace, death, black, darkness and red, while a triangle symbolizes warmth, vitality, white and yellow. Besides, a circle symbolizes "uniformity, infinity and tranquility". The circle also symbolizes blue. Therefore, each graphic is born with what Eaton calls its own color: the emotions expressed by graphics and colors must be matched; If a painter wants to achieve a balanced and harmonious effect in his works, he must pay attention to these naturally affinity combinations: square and red, triangle and yellow, circle and blue. This theory is the embryonic form of color emotion, and it is also the emotional function of color. Eaton had a great influence in Bauhaus, and even Gropius thought that his position as headmaster had been damaged, so he left Bauhaus in 1923. However, there is no denying that Eaton's color education has had a profound impact on Bauhaus-not only the basic courses, but also the design courses. His scientific color theory and scientific body composition theory are important and solid for laying the foundation of visual expression. After that, color education was taken over by Kandinsky, who taught in Bauhaus in 1922. His theory has many similarities with Eaton's. Kandinsky knew from an early age that he had a gift for comprehensive aesthetics, that is to say, when one sense is stimulated, the other sense will respond at the same time. As for himself, when he sees a scene or even a color, he will also hear some voices; Or conversely, when listening to music, he will see some colors or scenes. What he heard and saw was quite special. For example, it would be a certain note played on a certain musical instrument. In Bauhaus, he developed his talent to the extreme. Colors and sounds will also cause quite special feelings in his mind. Although this kind of emotion he experienced in his heart is inevitably subjective, Kandinsky still wants to explain it. For this reason, he has been working hard to explore and define its universal laws. Kandinsky's research on the preliminary course is divided into two parts: one is the analysis and drawing, and the other is the theoretical research on color and graphics. He first examines colors and graphics in isolation, then links them with each other, and finally, he connects them with the "base"? All two-dimensional images can be displayed on the plane one by one Kandinsky defined the "four tonic tones" of color in a comprehensive aesthetic way: bright warm color, dark warm color, bright cold color and dark cold color. This is what we call the emotion of color. According to his theory, the factor that determines the color temperature of any color lies in whether the color tends to yellow (absolutely warm color) or blue (absolutely cool color). However, each color not only has a color temperature, but also has a symbolic meaning. "Yellow is a typical secular color" and "blue is a typical paradise color", and these characteristics will also derive many other characteristics. Yellow is enterprising, beyond the limit, aggressive, proactive and unstable; On the contrary, blue is restrained, restrained, shy and negative. Yellow is hard and sharp: blue is soft and submissive. The taste of yellow is exciting, and the blue makes people feel like they have tasted fresh figs. The horn is yellow and the organ is blue. Because green mixes completely opposite yellow and blue, it creates a perfect sense of balance and harmony, which is negative and self-satisfied. Kandinsky has a note on the meaning of green. From this note, we can see to what extent he is prepared to digress in order to explain the characteristics of color: "The position occupied by pure green is the position occupied by the so-called bourgeois in the human world: it is a firm element, content with its own position, and it is limited in every aspect. "On the other hand, red is vibrant, restless and powerful. Mix red and yellow to get orange. Orange and purple (a mixture of red and blue) constitute Kandinsky's last couple? "Significant contrast". The principle that is suitable for the contrast between yellow and blue is also suitable for the contrast between orange and purple, although it is slightly less applicable. So, on the gap between yellow and blue, The bridge was built by red. Kandinsky assigned a lot of exercises during the lecture. The purpose is to enable students to find the appropriate counterpoint between color and graphics. He declared that if the primary colors should correspond to the basic shapes, forming yellow triangles, red squares and blue circles, then the mixing of graphics must always be accompanied by the mixing of colors. A Pentagon is a mixture of squares and triangles, so it must be orange. Broken lines and curves also have their own appropriate colors. There are also some exercises to explore this kind of effect. Even if these exercises do not confirm Kandinsky's assertion, they usually look beautiful enough. Kandinsky developed such a system, not only to reveal the so-called relationship between color and lines, but also to apply it to the whole composition design. His starting point is to divide applications into types. The horizontal program is warm and the vertical program is cold. The composition that forces the eyes to move upward is free and light, while the composition that forces the eyes to move downward is heavy and depressing. The composition that forces eyes to move to the left is risky and liberating, on the contrary, it is familiar and safe. This kind of "law" can create visual harmony and contrast, and can also show subtle psychological feelings with composition. The subsequent teacher, Kelly, also made great contributions to the color course. Like Kandinsky and Eaton's theory, Klee's color theory is also rooted in Goethe's theory, and, to a great extent, he also borrowed other people's theories: Runge, Delacroix? (Delacroix), Kandinsky himself and Delaunay, the latter's paper on light effect was translated into German by Klee in 1912. Like Eaton, Klee also started with spectral colors. He drew these colors into a circle, which was slightly more conventional than the sphere used by Eaton. In the visual experience, color is the most abundant side, the line has only the length, the tone has only the measurement and concentration, and the color has added a third element: nature, that is, Klee asked them to use the scale of metaphor to measure the weight of various colors (for example, red is heavier than blue), and to think about the gradual progress of various colors, one of which is from purple to red. The purpose of Klee's guiding students to carry out all these trainings is not to work out any rules. He just gave all the raw materials to the students and let them draw their own conclusions. In Bauhaus's color teaching, in addition to the color theory research in basic courses, there is also the application research of color in mural workshops (workshops). Using color to directly serve the shaping of space, or how to apply color in architecture, is the core content. Young teachers in Bauhaus mural workshop have developed a new method to decorate the basic building space by flat painting with large pieces of color, and gradually got rid of the traditional concept of using large-scale abstract painting as interior wall decoration. Bauhaus's practice in this field has had a far-reaching impact on the way of applying color in architecture and indoor space in the future, and has made new development in contemporary western architectural practice. In 1922, Kandinsky was responsible for guiding the study of color application in mural workshops. Consistent with his lectures on form and color theory in basic courses, Kandinsky made a detailed color research plan in the mural workshop. ? Kandinsky linked the physical and chemical properties of color (such as the properties of paint and the properties of adhesive) with various technical work, and linked the psychological characteristics of color with various experiments of analysis and creation, and defined two basic aspects of color application research, which was structurally consistent with his teaching of color theory. On the basis of Kandinsky's theoretical discussion on the psychological effect of color, some outstanding apprentices in mural workshops, such as Schindler Shepa and arndt, gradually got rid of the method of using large-scale abstract painting as interior wall decoration, and considered using the method of flat painting of large pieces of color to paint the interfaces in the space in different colors, so as to strengthen or change the feeling of basic architectural space. This idea had a groundbreaking significance at that time, and no one had put forward a complete set of theories or methods about the application of color in space. In the Bauhaus mural workshop, on the basis of Kandinsky's theoretical discussion on the psychological effect of color, some outstanding apprentices in the mural workshop, such as Schindler Shepa and arndt, gradually got rid of the method of using large-scale abstract painting as interior wall decoration, and considered using the method of flat painting with large pieces of color to paint each interface in the space in different colors, so as to strengthen or change the feeling of basic architectural space. Later, due to political reasons, that is, from the Nazi point of view, Bauhaus was one of the most prominent strongholds of Jewish Marxist concept of' art'. Bauhaus was forced to close down, and some teachers and students emigrated to promote Bauhaus's educational philosophy in the local area, so that Bauhaus became famous all over the world. Since then, the basic course of Bauhaus has been accepted by people. Up to now, we still have the same course

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