对形式倾以特别的热情和关注是美术心理学的一种由来已久的倾向。相关的研究越来越有力地证明:并非所有的构形(configuration)都会在创作中获得同等的艺术意味或审美力量。对艺术家来说,具备一种能够抉择唯一合适的形式的眼光是至关重要的,因而,如何在实践中使其自身独特的形式感丰富和充分个性化,有时竟是艺术家毕生努力的一个目标。一件美术作品可能象某些音乐和舞蹈作品那样可以缺乏特定的指涉内容,但却绝对不能没有形式,而且在某些情况下,形式几乎就是内容本身(如某些图案和抽象构图等)。当然,这并不是说形式可以凌驾在相对的内容范畴之上,而旨在说明美术形式的固在特点甚至有可能压倒内容。在这里,苏联著名的历史-文化学派的心理学家维戈斯基的见地可以用来进一步强调形式的非凡意义: A special passion and focus on form is a longstanding tendency in art psychology. Related research has increasingly proved that not all configurations acquire the same artistic or aesthetic power in their creations. It is crucial for artists to have a single vision of the right form of choice, and it is sometimes the goal of a lifetime of artists to enrich and fully personalize its own unique form of practice in practice . A piece of art may lack specific referential content, as some music and dance productions do, but it must not be without form, and in some cases the form is almost the content itself (such as certain patterns and abstract compositions, etc.) . Of course, this is not to say that forms can override the relative content categories, and solid features designed to illustrate the art form may even overwhelm the content. Here, the famous history of the Soviet Union - cultural school of psychologists Vigoski’s insight can be used to further emphasize the extraordinary significance of the form: